Wednesday, March 31, 2010
Monday, March 15, 2010
Relational Aesthetics
The two articles I am writing about are the interview with Nicholas Bourriaud and Karen Moss, and "Relational Aesthetics: Why It Makes So Much Sense."
It seems as though there shouldn't even be a question of whether or not Relational Aesthetics make sense, it just does. These articles certainly make it clearer, but when I think about it "social interventions as art" are so much a part of the art community that it is hard for me to think of a time when they were not. Traditional medium such as paint and stone did define art for many centuries, and it seems that everything that can be done with these media has been. So I completely agree that artists are now concerned not with doing something "new," but with "being relevant, of being useful, of being pertinent...," as Nicholas Bourriaud suggested. And as Karen Moss pointed out, very few of the artists used technology as a part of their exhibitions. I find this very refreshing. Just because we live in a technological age, and sos much can be done with it, doesn't necessarily mean we should utilize it for art. I understand, however, that sometimes technology does serve a very distinct purpose in art, and without it the work would not make sense. But it just seems so sterile, and even though it takes the human touch to make it work technology still feels so devoid of human contact. It lacks a personal feel, an intimacy.
This intimacy is gained when artists like Jorge Pardo put the personal books of George Pocari on display for part of the TOUCH exhibit. I love the idea of having viewers decide what this man was like from the mixture of titles he read over his life instead of coming to a conclusion based on a dry expression painted on a canvas. A similarly personal project was Gillian Wearing's Signs That Say What You Want Them to Say, Not Signs That Say What Other People Want You to Say. Allowing other people to express themselves in this way, while at the same time expressing yourself as an artist seems as though it would be far more fulfilling than what your paint and paint brushes would do in that time. (Thats just me though! and I love to paint!)
It was also interesting, and something that I had never thought about, that museums keep the same hours as government institutions, banks, and businesses. This seems utterly backwards considering that a majority of art held within museums is probably inspired by a hatred of such institutions.
Also, some of the projects done in the TOUCH exhibit would be ideas that could be considered for our class to do for Art House. Such as Gillian Wearing's polaroids, Ross's "heap of candy,"and perhaps even a version of Rikrit Tiravanija's "remnants of the experience" of a meal had by thirty people.
Ideas for ART HOUSE Friday, March 26th
I know we were to post these on Blackboard, but I am not lying when I say I am computer illiterate! It is really to my detriment, and I must learn. I try to figure out what I can on my own, but if it isn't in black and white then I get frustrated! So, I apologize for my shortcomings and lack of understanding in the realm of technology.
Here are some potential ideas for our class for ART HOUSE:
We thought that having the room filled with sights, sounds, smells reminiscent of childhood would an interesting display for all senses. The familiar and warm smells of childhood (i.e. cookies, rolls) would beckon in the visitors. Tables covered in foods that it seems everybody recalls a mother or grandmother having made at some point in their lives, if not on a regular basis. Perhaps we should also include candies that were popular during our youth, which seem to be making a comeback and in their original packing! Upon entering the room each visitor would be given a note card. On the note card they will be asked to write down specific words describing the feelings they are forced to have based on the memories our room evokes, if any at all. Or, on the note cards, they could write down a specific childhood memory they are reverted back to based on our room.
Some modifications to this idea would be blindfolding the guest. He/she would be tested with different smells, sounds, and tastes and asked what feeling or memory it evokes, if any.
Within the tables that are covered in childhood favorite food, we could include the not so favorite food (i.e. microwave meals, liver (i am not cooking it!!!).
Perhaps to help us with this challenge, the class should answer this question: What is your favorite memory from childhood? Does is involve food, music, an event/holiday, and/or a specific item of clothing?
The answers to this question may help us to combine certain elements to create the "perfect memory" in which every can relate.
An idea to get visitors into our room is to have colored threads, lots of them, starting at different places within the art building (in close proximity to our room). Out of curiosity people would pick them up and the strings would lead them to our room where they (of different colors) would become more tangled. At the end of the string would be something????
Another idea was to have a typical "college party" with pizza and beer (assuming we can serve alcohol). Music would be loud, drawing curious people into our room where they will be greeting as if long-time friends. They will be encouraged to play beer pong, and/or any other typical party games...suggestions? Someone from our class (perhaps a photography major) could be taking snapshots...it would be great if we had a Polaroid for immediate gratification! Again, upon entry or even when leaving, the visitor will be asked to fill out a notecard and use one word to describe his or her experience.
March 3, 2010
Ms. Katie Reinhardt, Curator of Exhibitions and Communications
Ormond Memorial Art Museum
78 East Granada Blvd.
Ormond Beach, FL 32176
Dear Ms. Reinhardt:
I am writing in regards to the call for artists for your ongoing exhibit. Enclosed are slides of my “Intentions” series of installations and wall hangings, as well as a statement about the work.
If you are interested and need to see more, I would be happy to send additional slides and/or information or arrange a studio visit at your convenience.
Thank you for considering my work.
Sincerely,
Kathryn Davis
Art Proposal:
“We judge others by their behavior. We judge ourselves by our intentions.”
- Ian Percy
When I think about all the “intentions” I have had, I wonder how many things I would have done if those intentions had been fulfilled. I would most likely live in another state, be done with school, and established myself in a pretty decent job. Clearly, these things which I had intended never came to fruition, and far from it. Thus I have created this series of work entitled “Intentions.” It began, oddly enough, when looking through my closet. A beautiful vintage cocktail dress caught my eye and I began reminiscing about when and where I bought it. I had intended to wear it to a wedding, but never did. Then I thought the original owner and what her intentions might have been. Perhaps she bought it for a wedding as well. That’s the funny thing about clothes. They all have a specific purpose, an original intent. “I bought that jacket for a trip up north, those shoes for that dress which was for Ashley’s wedding, those shorts and sandals for the beach”...and so on and so forth.
Our clothes are the physical and tangible evidence of out intentions. In this series of work I visited local thrift stores and bought items of clothing that caught my eye based on color, print, and/or texture. I find myself creating a story for each piece. I imagine where it has been and what it has seen, or perhaps it has hung in a closet until finally it’s original intent had come and gone.
This clothing is the primary material used in “Intentions.” Some of the clothing I have cut into pieces and sewn together with embroidery thread to make colorful wall hangings. Each wall hanging has a specific theme. For instance “Seasons,” one of the broader themes, is made with strips of clothing worn in all four seasons: A tweed jacket for winter, gauze shirt for summer, long floral skirt for spring, and a lightweight striped sweater for fall. Perhaps the tweed jacket was worn for a very important meeting or the gauze shirt meant for a beach trip.
Some clothing I cannot bring myself to alter. For these clothes I have made “closet” installations. These closets contain entire wardrobes I am sure have had a life full of intentions, some good and some bad, but intentions nonetheless.
For many of us those important events in our life can be remembered through the clothes we were wearing at that time. The purpose of this nostalgic series is to have people connect to the colors, patterns, and textures that might remind them of one of those important events. Perhaps they will be reminded of that which they intended but never did, and be inspired to see it fulfilled.
Artist Statement:
The question for me as always been, “What comes first, the color or the form?” For the majority of my artistic endeavors form always came first and the color came as a result of that form. I would create the form and color it in, so to speak, with its local color. I then came to the conclusion that I am not doing the world of color any justice. I feel as an artist I have a duty and a responsibility to represent color.
It is a scientific fact that color affects us both mentally and physically. Based on this I use colors that affect me in certain ways and display them in a way that instigates a reaction from the viewer. It could be an emotional reaction such as happiness or anger, or even a physical reaction such hot or cold.
My fascination with color began a series of color field paintings. I began doing small scale geometric paintings using two to five colors. I choose the color based on how they affect one another. My goal is to make the colors dance on the canvas. I then moved on to a larger scale and traded in acrylics for oils.
Most recently I have started working with used clothing. Any color, print, or texture that catches my eye is used in creating wall hangings. Reminiscent of the geometric paintings, I still use mainly squares and triangles. With the wall hangings there is much more than just a color relationship being created but also a story. Each item of clothing tells a story and when combined can tell a multitude of stories spanning across generations. These works also require a reaction from the viewer as they allow for them to connect in a more personal and permanent way.
My work has come to be based on nostalgia. My intent is that viewers can revisit their past brought on by a color, a print or a specific texture.
Dear Sir or Madam,
My name is Kathryn Davis. I am a senior Fine Arts Major at the University of South Florida. I am interested in learning more about the Gee’s Bends Quilts. These intriguing ladies make equally intriguing quilts and are inspiring quilter and painter alike. Any information you may be able to supply would be greatly appreciated. I understand you may have a packet of press information or other information that may be helpful.
My email address is kathryndavis@mail.usf.edu
I would be happy to supply a self addressed stamped envelop if need be.
Thank you for your time and assistance. I greatly appreciate it.
Kathryn Davis
Dear Sir or Madam,
My name is Kathryn Davis. I am a senior Fine Arts Major at the University of South Florida. I am interested in learning more about Bridget Riley. I admire her work and share her love for color and form, and how the two interact with themselves and one another. I would greatly appreciate any information you may have about her work, her method, or her background. I understand you may have a packet of press information or other information that may be helpful.
My email address is kathryndavis@mail.usf.edu
I would be happy to send a self addressed stamped envelop if need be.
Thank you for your time and assistance. I greatly appreciate it.
Kathryn Davis
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