8.

Pauline Bastard

Western




I found this piece on Rhizome and was first drawn to it by its use of the iconic rainbow mouse, that occurs on Mac screens when a process is occurring and the user must wait. The piece was a series of videos in which the rainbow spiral mouse became the character in a narrative as it explores a landscape of a photograph. I was struck by its simple and anti-climatic nature, using an everyday object that you typically would not even consider, and making it into the star of a film.

By forcing me to reconsider such a trivial object, it also reminded me of the Pop Art Movement. Both are concerned with contemplating everyday objects and reinterpreting them in a fine art sense. Additionally considering mass-consumption and commodity, her piece to me seems to be a commentary on media and the film industry, using classic images reminiscent of old Westerns for the setting of her films. I half expected John Wayne to be riding his horse across the landscape in place of the rainbow cursor.

I was unable to find any literature from Pauline to explain her work from her perspective, so I would be interested to see if I am interpreting her piece as she had hoped. But given the simple nature of her website and lack of written information, it makes me think that I am on the right track, or that there is no wrong track, as she is just most concerned with the viewer's questioning of the work and its purpose, in an attempt to reconsider the everyday objects.

Art Event 2.

Mark Iwinski's Open Studio

I was unable to go to Mark's talk explaining his work, so when I entered his open studio at the Artist's House I had a very pure experience encountering his work, free of any preconceived notions. The studio consisted of dissected trees stumps, paper rubbings, prints, and photography. He was using trees to make prints of both the cross-cut tree stump, and the exterior bark through rubbings. I was actually most impressed with some of his photography, particularly ones in which he photographed transparencies of buildings and places that no longer exist, at the site where they once were. The result was an eerie projection of the past onto the present, simultaneously occurring.

While I was unable to speak with him while I was there to get a better understanding of his purpose for using trees for printmaking, my first impression was my concern with presentation. The prints of the cross-section of the tree stumps were visually interesting, but the rubbings of the bark was less than intriguing. I suppose he is mos concerned with the process and idea of his work than the final project, but I couldn't help but be concerned with how these works would be displayed in an exhibit. Without an explanation of the bark rubbungs, I felt they fell short and were more reminiscent of childhood art projects in comparison to what he was trying to convey.

He seemed very concerned with the paper that he was was using for prints, selecting paper made from various trees. This aspect interested me most because trees inhabited every aspect of his printmaking work, from beginning to end. The studio as a whole acted more as a gallery space, than a glimpse into his work process. His work space was limited, covered with the wood stumps, and as a result it seemed nearly impossible for him to create work in it. But nevertheless, it was beneficial to see a rarely seen perspective into an artist's process, especially an artist so different from myself.

Project 3.

My website:



Project 3: Drift

7.

Deep Horizon
ubermorgen.com



Deep Horizon is a series of digital images, created from the oil spill in the Gulf of Mexico that occurred last week. I was immediately attracted to its relevance to the news of today, as this environmental disaster is one of the most severe and devastating of my lifetime. The work itself are considered "digital oil paintings," aerial photographs of the oil spill that have been digitally manipulated to be more reminiscent of an abstract oil painting, than photograph. The artist cleverly refers to these paintings as oil paintings, given the literal use of spilled oil, while instantaneously making a commentary of art's historical narrative, the evolution of digital media, and the return of oil paint.

I am not so much attracted aesthetically to the images created, but more so to the play of words and the digital media's relation to painting. The urgency in which these images were created, just days after the oil spill, speaks volumes and makes these pieces much more relevant and interesting than if they had been created months from now. Despite the significance of the disaster, because it will likely not directly effect myself and others away from the Gulf Coast, it will likely be forgotten soon enough. These images will perhaps make its impact and importance more concrete to those not directly affected. In addition to the awareness of the disaster itself, the artist, perhaps sarcastically, states that it will bring mass-awareness to oil painting as aerial images of the oil are being constantly broad casted to the media.

While the concept is interesting, the artists' statement regarding their piece seems to be lackin sympathy regarding the devastation, and comparing the art created by the oil spill to the "nearly perfect" images of 9/11. The site's other well-known work is a piece called Attack on Democrazy created during the first eight hours after the 9/11 attacks. It is somewhat disturbing that they are capitalizing on such horrific disasters, but nevertheless their works will certainly attract attention and a buzz around them, which for a site so concerned with the media, is probably quite satisfying.

Art Event 1.

SMP Show I and II Opening

Because I intern in the gallery I had the unique perspective of watching these shows as works in progress, as well as coming together for the finished products for the exhibit's opening. The first show was a very cohesive exhibit of 2-D works, displaying the paintings of Montse Ferrer, Mary Gottschalk, and Laine Donavan, and the photography Of Kelton Baumgarner. As a painter myself I was particularly drawn to the paintings. Much different than my own naturalistic portraits, I appreciated Mary's spin on a classic narrative and Montse and Laine's use of color and technique in their abstracted pieces.

The second show was much darker and a more alternative perspective regarding medium and installation. While an interesting perspective, I personally was less interested in their work. I had much anticipation for Claire's performance piece, however was sadly disappointed with the anti-climatic sense. It could have been more dramatic perhaps if she had been sitting or interacting, instead of lackadaisically embroidering her hand. I was touched by the intimacy of her space, but it just seemed to missing a dramatic element that would have made it more engaging.

The exhibition as a whole carried color well across the space, but the lay-out and use of floating walls divided the space in a way in which the first show did not. While I am being very critical, both shows were very inspiring for my own work and SMP next year. Through seeing the process of installing the show, I also have the advantage of knowing how important it is to make presentable work. The second show especially had many issues regarding presentation. With this in mind, I will most definitely consider how I can present my work from the very beginning of my process.

6.

Freedom from Fear and Worry
Rafael Rozendaal




I found this piece on Rhizome, with only the link to the website and no background information. As a result, I experienced it very purely, as the artist probably intended. Ironically, this piece fit perfectly into my life as it is the week before finals, I much needed freedom from fear and worry. The site is somewhat like a colorful, ever-evolving, rorschach test, mesmerizing the viewer into a state of peaceful euphoria.

After leaving the piece as my screensaver for a few days and enjoying its mesmerizing qualities, I searched for more information about the artist, Rafael Rozendaal. He is from the Netherlands, but is of Brazilian descent. An interesting fact about him is that his great grandfather was a former president of Brazil. I also found a new perspective into his work, as his bio on his website briefly and simply describes his work, and that he creates websites as artwork and then sells the domain. The website remains public, but the new owner's name is written in the title bar. Freedom from Fear and Worry did not have a person's name attached to the website, so I am assuming it is still for sale. I wonder for how much...

While the work itself is simple and aesthetically pleasing, I find his process in selling his work the most interesting aspect. He addresses straight-on the issues of consumerism regarding digital media. He in a sense is creating an original piece of work, just as a painter makes an original canvas, despite the fact that it can be viewed simultaneously by millions across the world. He also questions society's obsession with consumption, as who would spend money on something that can be seem for free... I suppose someone with enough money to do so, the desire for extravagance, and the need to attach his name for people to see.

5.

Seven on Seven.

For my latest Artist Entry, I have chosen not a specific digital artist, but more of a digital event. It's called "Seven on Seven" and the premise is to join a leading artist with a "technologist" in teams of two to collaborate and come up with an innovative project that will take place on April 17th. There are little to no limitations, and the projects can be anything from an application, product, or piece of art. It appears to be the first time Rhizome and the New Museum have set out on this endeavor, because I could not find any past projects, but nevertheless I find it to be a very exciting integration of art and technology.

Seven on Seven is the first edition of this potentially annual event, and was said to be recalling "9 Evenings" in which dancers, visual artists and musicians were paired with engineers and scientists to create work. The event is a day long convention with the revealing of the projects and meeting the participants.

The information was rather vague, listing only the artists and technologists that are involved, but I guess that just adds to the anticipation and mystery. As an artist myself I would love to be involved in something like this to broaden my horizons. I think the digital world can be a very intimidating one if you are not experienced, but I think this project is a great opportunity to give these artists confidence in the digital arena by working with technologists, and vice versa.