Sunday, November 30, 2008
Monday, November 24, 2008
Email me for my fun Interactive Project!
So for a project I will webcam myself for the rest of the week. You can control the camera's angles and a bunch of other stuff yourself by logging onto the website, so its very interactive. If you want to view it, you have to email me at amybeth.maran@gmail.com and i can give you the webpage and a login name and password. for legal reasons i cant just post it on a public forum.
but i thought youd like it susan. im going to bring this with me to pitsburgh and try to have a live webcast of my crazy family
UPDATE:
so like half of you got user names, passwords and the website. I made up them for the rest of you, just contact me and I'll give you all your info. Its super easy to use.
-I have no idea what anyone saw today. But I was in bed most of the day going stir crazy, so you make have seen:
- I had a migraine all day, and took a lot of medication
-brittney came over to help me with audio for the final project. (THANK YOU by the way)
-I fought with my doctor over class II drugs - so if you had audio, good for you.
-I cried several times because I'm hormonal. I usually don't cry.
-If you get this tonight, you can watch me sleep. If you move the lens, I can sort of hear it. It's like I have guardian angels. Or creepy stalkers. I'll let you know in the AM
I dont know, this is a very intense installation living arrangement. (And no, there is NO nudity. I change in my bathroom. It really is quite boring. Sorry ladys and gents)
Amy
but i thought youd like it susan. im going to bring this with me to pitsburgh and try to have a live webcast of my crazy family
UPDATE:
so like half of you got user names, passwords and the website. I made up them for the rest of you, just contact me and I'll give you all your info. Its super easy to use.
-I have no idea what anyone saw today. But I was in bed most of the day going stir crazy, so you make have seen:
- I had a migraine all day, and took a lot of medication
-brittney came over to help me with audio for the final project. (THANK YOU by the way)
-I fought with my doctor over class II drugs - so if you had audio, good for you.
-I cried several times because I'm hormonal. I usually don't cry.
-If you get this tonight, you can watch me sleep. If you move the lens, I can sort of hear it. It's like I have guardian angels. Or creepy stalkers. I'll let you know in the AM
I dont know, this is a very intense installation living arrangement. (And no, there is NO nudity. I change in my bathroom. It really is quite boring. Sorry ladys and gents)
Amy
Thursday, November 13, 2008
3?'s again
Time and Narrative:
1. How are the cacti gardens in Teresa Serrano's Vanishing City considered time or narrative? It was unclear to me. It seemed like she simply created some objects and put them in a space. Is it time oriented because of the growth of each cacti?
2. Does Amanda Wilson's Mirror explore her personal construction of individuality or the audiences?
3. It seems people find the library and interesting space to create installation art in. Why do you think this is?
The Body of the Audience:
1.If the audience doesn't get the literary reference of Gulliver or Dorian Gray is the piece still effective, such as the case with Nicolai or Haxhillari's work?
2.How does Carlos Amorales's piece Funny 13 activate the audience as an integral part of the piece?
3. How is the relationship of action and passivity of the audience explored in Aernout Mik's work Pinata?
1. How are the cacti gardens in Teresa Serrano's Vanishing City considered time or narrative? It was unclear to me. It seemed like she simply created some objects and put them in a space. Is it time oriented because of the growth of each cacti?
2. Does Amanda Wilson's Mirror explore her personal construction of individuality or the audiences?
3. It seems people find the library and interesting space to create installation art in. Why do you think this is?
The Body of the Audience:
1.If the audience doesn't get the literary reference of Gulliver or Dorian Gray is the piece still effective, such as the case with Nicolai or Haxhillari's work?
2.How does Carlos Amorales's piece Funny 13 activate the audience as an integral part of the piece?
3. How is the relationship of action and passivity of the audience explored in Aernout Mik's work Pinata?
Wednesday, November 12, 2008
3 Questions: The Body of the Audience
1. I am intrigued by the dialectic taking place in Christoph Draeger's "Apocalypso Place," between the organization and conglomeration of media and the individual and I wonder what it is that Draeger is trying to illicit from the viewer in the piece?
2. Has the audience become more relevant and important to contemporary artwork? Has the genre of Installation Art helped spurn this involvement?
3. How does Christian's Jankowsi's documentary narratives engage the audience and what role does the audience play in shaping the work?
2. Has the audience become more relevant and important to contemporary artwork? Has the genre of Installation Art helped spurn this involvement?
3. How does Christian's Jankowsi's documentary narratives engage the audience and what role does the audience play in shaping the work?
Text Art Installation Project
"Text Idea"On Wednesday Nov 5th, I will install 10 quotes from Friedrich Nietzche's "Thus Spoke Zarathustra" at various points in the College of Santa Fe building system. The installations will be as followed:
2 text sites Benildus
2 text sites Cafeteria
5 text sites Barracks/Visual Arts Building
1text site Administration Building
Examples of quotes:
"When the devil shes his skin, does his name not fall away too? Forthat, too, is a skin. The devil himself is perhaps - skin. Nothing istrue, everything is permitted."
"But I am now retired from service, without a master, and yet notfree, nor cheerful at any time, unless it be in my memories."
"To live as it pleases me, or not to live at all"
"Before my highest mountain I stood and before my longest wondering:therefor I must first descend deeper than I have ever done before:-deeper into pain that I have ever descended, even into its blackestflood! Thus my fate wills it. Well then, I am prepared. Where do thehighest mountains come from? I once asked. Then I learned they comefrom out of the sea."
The quotes will be printed on plain white paper and one word will beapplied to each piece of paper. The word appearing on each paper will be very tiny so that the viewer has to get close to the paper to read the text. I am interested in what these words symbolize and what they don't symbolize. Attempting to explain the aesthetic life to one another can leave us stranded or at a crossroads of thought because far too often we are unable to communicate verbally the very objects and emotions expressed in our reality. In the novel "Thus SpokeZarathustra" an attempt is made to break down the dynamic threads of existence that sprout out of our society as well as non-society, in which a movement towards a knowledge of the individual self, the subjective being is examined at whole length, and it is with Nietzche's words that I would like the campus community to be exposed to. Furthermore, as a school with a Lassalian tradition, that which isbased primarily in the judeo-christian paradigm, I am interested in subverting that expression with these determined thoughts that arevery anti-western civilization. My hope is to create an inner dialog with the individual that comes in contact with the piece. I do not matter in this piece, a collective environment is not synthesized,this is purely a personal experience.
2 text sites Benildus
2 text sites Cafeteria
5 text sites Barracks/Visual Arts Building
1text site Administration Building
Examples of quotes:
"When the devil shes his skin, does his name not fall away too? Forthat, too, is a skin. The devil himself is perhaps - skin. Nothing istrue, everything is permitted."
"But I am now retired from service, without a master, and yet notfree, nor cheerful at any time, unless it be in my memories."
"To live as it pleases me, or not to live at all"
"Before my highest mountain I stood and before my longest wondering:therefor I must first descend deeper than I have ever done before:-deeper into pain that I have ever descended, even into its blackestflood! Thus my fate wills it. Well then, I am prepared. Where do thehighest mountains come from? I once asked. Then I learned they comefrom out of the sea."
The quotes will be printed on plain white paper and one word will beapplied to each piece of paper. The word appearing on each paper will be very tiny so that the viewer has to get close to the paper to read the text. I am interested in what these words symbolize and what they don't symbolize. Attempting to explain the aesthetic life to one another can leave us stranded or at a crossroads of thought because far too often we are unable to communicate verbally the very objects and emotions expressed in our reality. In the novel "Thus SpokeZarathustra" an attempt is made to break down the dynamic threads of existence that sprout out of our society as well as non-society, in which a movement towards a knowledge of the individual self, the subjective being is examined at whole length, and it is with Nietzche's words that I would like the campus community to be exposed to. Furthermore, as a school with a Lassalian tradition, that which isbased primarily in the judeo-christian paradigm, I am interested in subverting that expression with these determined thoughts that arevery anti-western civilization. My hope is to create an inner dialog with the individual that comes in contact with the piece. I do not matter in this piece, a collective environment is not synthesized,this is purely a personal experience.
Reflections Installation Project
My installation is a site-specific play on light and how we see ourselves through these light reflections. For my project, I created four large triangular structures surrounding a mirror. This installation is set across from the window in the Thaw Art building. The direct sunlight reflects openly from the window casting various shadows and reflections in and through the center of these four triangular structures.
Light and shadow are dispersed and manipulated. The mirror in the center invites the viewer to examine his/ her self and view their reflection through a new light. My piece was partially influenced by Ursula Berlot’s, installation pieces that deals with light, reflections, and special relationships. She is a German installation artist. Like my piece, her pieces focus on the reflection and movement of light through various transparent objects. Often times her sculptures are kinetic and intersect shadow within light. Sound is also employed.
I was also inspired by an installation piece by Tokujin Yoshioka entitled Crystal Forest. This piece was installed in the Swarovski Flagship store in Ginza Tokyo. Stainless steel pieces hang, “reflecting fragmented views of the street.” My project uses multiples of the same objects to capture, transform, and reflect light. Although her piece is still, the reflections are in constant motion and ever changing with the movement of the environment. This static capture as well as alteration of the movement is one of the subjects that my piece focuses on, along with self-reflection and analysis. Through subtle changes in the environment perspectives are altered.
Light and shadow are dispersed and manipulated. The mirror in the center invites the viewer to examine his/ her self and view their reflection through a new light. My piece was partially influenced by Ursula Berlot’s, installation pieces that deals with light, reflections, and special relationships. She is a German installation artist. Like my piece, her pieces focus on the reflection and movement of light through various transparent objects. Often times her sculptures are kinetic and intersect shadow within light. Sound is also employed.
I was also inspired by an installation piece by Tokujin Yoshioka entitled Crystal Forest. This piece was installed in the Swarovski Flagship store in Ginza Tokyo. Stainless steel pieces hang, “reflecting fragmented views of the street.” My project uses multiples of the same objects to capture, transform, and reflect light. Although her piece is still, the reflections are in constant motion and ever changing with the movement of the environment. This static capture as well as alteration of the movement is one of the subjects that my piece focuses on, along with self-reflection and analysis. Through subtle changes in the environment perspectives are altered.
Tuesday, November 11, 2008
time & narrative
1. In One of Each (an archive of everyday objects that is viewed from a raised walkway) is the purpose of the viewers standpoint to put the objects into the context of an art piece? Does the fact that the viewer cannot touch the objects speak to a disconnect between everyday "things" and people, or to that of a traditional art gallery environment?
2. Can you experience an intense state of being from just observation? Does a room/place have to be completely transformed or interactive to completely transform the viewers state?
3. In what case is anything physical that is created by someone not, in some sense, a narrative?
3. In what case is anything physical that is created by someone not, in some sense, a narrative?
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