Questions from "Escape"
1. Would we be able to pick up on the message of these pieces shown in the chapter if they had no title? I feel like the title is sometimes like the punch line of the piece. For example, Biefer/Zgraggen's piece entitled God. Would we know immediately that this piece is about a God-like entity without the explanation that the title gives away? Or do you think that it varies from piece to piece?
2. It seems that many of these artists create smaller "environments" encased in a pod, such as Absalon with his Cellule series or Lee Bul's Gravity Greater than Velocity II. Do you think that these are self contained and would not be influenced by the location they are in or do you think that they can have other meanings projected on them due to the environment around the cell or pod? For example, would it matter if the karaoke booth was in a church?
3. Why do you think that Julian Opie's piece Imagine that you are moving was put on display to only travelers who were making connections for international flight? Is it because they are making a transition between spaces?
Thursday, October 2, 2008
Wednesday, October 1, 2008
glee tree
i'm happy to say all the candy, save for a hand full of lollies, was gone within 12 hours.
the intention for the installation was achieved and very satisfying.
thanks for enjoying.
pictures from my 5 senses installation
loacated on a tree near St. Mike's hall
on the grassy grassy quad
the intention for the installation was achieved and very satisfying.
thanks for enjoying.
pictures from my 5 senses installation
loacated on a tree near St. Mike's hall
on the grassy grassy quad
three questions
(one)
in Yayoi Kusama's 'dots obsession' what was the intended feeling/atmosphere/presence trying to be achieved with the use of the random amorphous shapes placed in the room? would the ____ change if the shapes were a larger or smaller size, or not there at all?
this installation really intrigued me, please offer feed back..
(two)
is an installation artist a control artist, and how if so?
(three)
what is the intention of installation art and does it vary from artist to artist?
in Yayoi Kusama's 'dots obsession' what was the intended feeling/atmosphere/presence trying to be achieved with the use of the random amorphous shapes placed in the room? would the ____ change if the shapes were a larger or smaller size, or not there at all?
this installation really intrigued me, please offer feed back..
(two)
is an installation artist a control artist, and how if so?
(three)
what is the intention of installation art and does it vary from artist to artist?
3 Questions - Escape (Spencer)
1. In Kazuo katase's "winterreise" what is the point of lighting the room with such an intense blue? What is the goal of putting a geometrical shape in the space and why would a swing occupy the space? The entire makeup of the space is weird because the ideas of childhood innocence and adult abstraction run perpendicular to each other in the same space.
2. Is the goal of installation art to be as dynamic a mechanism of expression as possible? I t seems that there are many different takes and creative outlets presented by a cast of different artists that all fall under the category of installation art. Could we justify anything that happens in this world as a performance or installation piece? Are apples in a cafeteria not installation into the space, is writing works to paper not a performance in itself and who really cares about what the exterior viewer thinks of your work?
3. Diller and Scofidio "Blur Building." What is the point of creating a cloud of mist that covers an object or space that the viewer wishes to get to ? Is this some sort of philosophical questioning of the human beings inability to see clearly into the future?
2. Is the goal of installation art to be as dynamic a mechanism of expression as possible? I t seems that there are many different takes and creative outlets presented by a cast of different artists that all fall under the category of installation art. Could we justify anything that happens in this world as a performance or installation piece? Are apples in a cafeteria not installation into the space, is writing works to paper not a performance in itself and who really cares about what the exterior viewer thinks of your work?
3. Diller and Scofidio "Blur Building." What is the point of creating a cloud of mist that covers an object or space that the viewer wishes to get to ? Is this some sort of philosophical questioning of the human beings inability to see clearly into the future?
Chapter One, Three Questions (AmyBeth)
Questions for Chapter One:
1) Do other people have trouble reading the book when you know you need to be looking for questions? I found myself skimming sections I felt I "understood" and art pieces that weren't questionable enough - where had I not felt pressured to come up with questions I would have enjoyed. This isn't something I am looking to have changed but something I want to know how other people deal with (if they indeed are having a difficulty with it)
Onto relevant questions:
2) Polaria by Bruce Gilchrist and Jo Joeelson used scientific technology as its basis. What differs this from an amplified science fair project? There are many amazing scientific feats out there - does the simple fact of taking them to the general public make them art?
3) When the author refers to Louise Sedell's Ascensor Negro as a "magic trick," does it downplay moral and ethical responsibilities? Afterall, psychological experiments would not be allowed to perform this "trick" on the same willing and unknowing participants.
and because my first question isn't very relevant, I agree, how can a city be a non-place? The argument made is abstract at best and seems to define a futuristic city rather then the ones we actually have today.
1) Do other people have trouble reading the book when you know you need to be looking for questions? I found myself skimming sections I felt I "understood" and art pieces that weren't questionable enough - where had I not felt pressured to come up with questions I would have enjoyed. This isn't something I am looking to have changed but something I want to know how other people deal with (if they indeed are having a difficulty with it)
Onto relevant questions:
2) Polaria by Bruce Gilchrist and Jo Joeelson used scientific technology as its basis. What differs this from an amplified science fair project? There are many amazing scientific feats out there - does the simple fact of taking them to the general public make them art?
3) When the author refers to Louise Sedell's Ascensor Negro as a "magic trick," does it downplay moral and ethical responsibilities? Afterall, psychological experiments would not be allowed to perform this "trick" on the same willing and unknowing participants.
and because my first question isn't very relevant, I agree, how can a city be a non-place? The argument made is abstract at best and seems to define a futuristic city rather then the ones we actually have today.
My Sister's Kosher Wedding (AmyBeth)
I could only load the first video (the second may have been too long for blog to handle). Enjoy the dysfunctional, cringe-fest.
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