The goal of this project was to create a 3D object in Autodesk Maya based on a Mondrian painting shown below:
…and, for a 20 second duration, to animate the separate pieces of the object coming together to create the whole.
A camera was used to create secondary motion along a path.
During the first Friday of September 2017, Center’s Gerry Lenfest Gallery was filled with people, three-dimensional objects, sounds, materials, photos, videos, and many captivating concepts. The exhibition called allTURNatives: Form + Spirit 2017 was above and beyond expectations. This multi-disciplinary exhibition takes the viewer through the world of senses, including visual, auditory, and tactile. As soon as I stepped in, my receptor cells were affected by unusual sounds and fascinating objects which only then lead to perception of what was really going on.
AllTURNatives: Form + Spirit 2017 is dedicated to the collaborative work of eight international artists from all over the world: Max Brosi, Felicia Francine Dean, Daniel Fishkin, Anastasia Leto, Megan McGlynn, Jason Schneider, Samuel Lang Budin, and Elizabeth Kozlowski. In it’s 22nd year, the Center Windgate ITE program awarded eight fellowships to these talented artists who worked together for two months, exploring new directions in their work. This program encourages research, discussions, studio work, and experimentation. The outcome of this collaborative work, in my opinion, is closely interlinked with psychology. This photo essay encompasses the experience of the whole sensory system, including both physical sensation and deeper interpretation of the perceived information.
The ability for the viewers to interact with the artwork allows them to develop their own perception of art object. This includes not only visual experience. Daniel Fishkin, for example, used interactive sound installations to let people perceive unusual sounds on their own way. Some people found it disturbing whereas others found organic similarities with sounds from natural world. According to bowerbird.org, Fishkin also studied how his work affect people with hearing damages which also explains his interest in these sound installations. At the same time, Max Brosi in his Cyclops Form considered how visually-impaired people would experience the pieces, relying on the sense of touch. Some pieces, as for example, Jason Schneider’s Sphere included photo and video accompaniment. Female artists expressed themselves through the choice of interesting materials, including Tenants by Megan McGlynn made of plywood, acetate, gouache, and LED lights, and tremendous Ascent installation by Anastasia Leto made of ash, white oak, copper, and hemp twine. All of the presented art objects not only explored the beauty and character of collected materials in functional and sculptural forms, but also interacted with the audience in physical and intellectual ways.
“AllTURNatives: Form + Spirit 2017.” The Center of Art in Wood. Center’s Gerry Lenfest Gallery. 141 N. 3rd Street, Philadelphia, PA 19106. 2 Sep. 2017.
“Composing the Tinnitus Suites: 2016.” Bowerbird.org, www.bowerbird.org/newsite/events/tinnitussuites/.
Thinking about how ancient Greek philosophers react to Koons’ body of work, I would notice that their views about the value of art in general were almost entirely different.
I believe that Plato would be extremely displeased by Koons’ work. Plato claims that “a work of art is thrice removed from the reality it depicts, and this neither to be trusted nor valued”. (21) This does not mean that Plato does not approve art at all. For Plato, art as well as an idealistic image of the human society should be in the service of virtues such as truth, knowledge, and good behavior. Art is just a poor imitation of idealistic image; however, if someone dares to imitate something than this should serve higher purposes. Koons’ flamboyant and careless art works (i.e. large-scale balloon dogs or flower puppies) are way removed from the truth or knowledge, let alone they can teach any moral lesson. Besides, Plato would be certainly concerned about psychological effects of his work on people’s behavior since it (or even the artist’s behavior) involves some of seven deadly sins including lust, pride, and greed. Thus, there is no doubt that Plato would be strictly against any of Koons’ work.
Nevertheless, even though Koons’ work seems kitsch to much of audience, I think not all Greek philosophers would strongly disagree with his art. In contrast to Plato, Aristotle valued any forms of art. He thought artist’s main purpose is to celebrate the nature and surrounding world by finding the best it can provide. Aristotle’s position was that “living things reveal beauty because they demonstrate an organization that suits their purpose, and therefore their design is beautiful.” (24) Even though Koons’ work might seem attractive from the outside and too plain inside, I believe that Aristotle could enjoy the variety of manners which Koons presents in his work. Besides, Aristotle valued function in art. I can see how Aristotle would approve of Puppy because it acts as a garden installation, involves nature and brings sentimental joy to the viewers.
I also think that the work of Alexis Rockman would be approved by Aristotle. Aristotle valued art for the sake of knowledge: “Rockman knows the nature of things, the knowing of which is very important to Aristotle’s epistemology” (46); and for the sake of function: “Aristotle might see Rockman’s work as technically proficient and substantive in content” (47). Aristotle would also appreciate Andres Serrano’s photos since the artist could find beauty in unique and visually unpleasant subjects matters, such as homeless and dead people, bodily fluids, and even shit.
WORK CITED:
Barrett, Terry. Why Is That Art?: Aesthetics and Criticism of Contemporary Art. Oxford University Press. 2012
This is my first exercise for Art 314 on Maya.
I created a realistic animation of a bouncing ball while it’s being dropped.
The main objective is to get better at understanding of the main animation principles in Maya.
As I developed my animation, I created two velocity vectors at play in a bouncing ball: a vertical bounce and a horizontal travel. My ball also “squishes” (scale wider horizontally and shorter vertically) when it hits the ground, and “stretches” (scale thinner horizontally and taller vertically) as it bounces up. It speeds up as it falls, and slows down as it rises, “hovering” slightly at the top of the bounce.
