Minimalism is a phenomenon that has been manifested in many forms of creative media. The minimalist movement is a derivative of abstraction, ultimately embracing the act of non-objectivity. Gaining its audience in the 1960’s, it is surprising to many that the movement has always been prevalent in the world of Art and Design…..
Art 122Y
Manifesto
Degeneratism
- Degenerates question and break the labels placed by the faction obsessed with categories in hopes to move forward and accept the future.
- Accepts the challenges and embraces the diversity
- Acknowledges and appreciates the history but understands that’s where history lies, in the past
- Doesn’t put down their comrades but understands expression comes in many forms and when there is oppression they move forward to the best of their abilities
When generalizations are made and spearheaded towards a group there will always be resistance. A driving factor for criticism is fear. Humans have a tendency of responding negatively to untraditional acts and the unknown. The idea of being replaced brings fear to many and this can be seen best through the uprising of a new generation. The “Label” is a limiting factor made out of fear to categorize work. In the 21st century not only will that be close to impossible but will limit the advancement and embracing of newer forms of art.
Artist Statement
I am a designer. This idea of placing an artist in the world of New Media like myself is very difficult. As I am finding my strengths I understand my areas of improvement. Just as the name New Media is vast my options follow. My work is very influenced and limited by my materials at hand. The question arises whether a designer is an artist but it is easily justified in my case when I have a foundation and passion for art. Those in this situation before and those who come after will understand resistance and confusion to what the grey area between the two are.
The common trend seen in my pieces are that of experimentation of color and the manipulation of normalcy. I generally enjoy the process of revitalizing historical events as well as many forms of photography. The reason behind my fascination of history is deeply rooted with the western culture and its ever-growing society both in technology and science. In many cases my work can be accredited to modern media and this sort of collision between generations and worlds of art and technology. The simplification and abstraction in design is the journey I want to venture in.
This fear of something new is my main motivator and obsession with what technology is capable of allowing in the creative process. My tendency of referencing history and the past is my own attempt of answering the “what if?” in terms of events occurring then and what would happen if they were happening today. The introduction of photography in the art world came with resistance as it was seen that technology does the work. I contend the idea with the notion that although, anyone can grab a camera not everyone can captivate a moment and convey emotion successfully as a photographer. Although, there is a stigma with work created through technology, skill and technique are required with any form of material whether it’s from the new or traditional. Being a part of change and a world, which is advancing in terms of its technology is something I feel is very important for all people to understand. I believe this fear of technology is a natural reaction; this idea is similar to the tendencies of the art world putting names and categories to movements through the fear of absence and disorganization. I make my work to avoid the label and to just make work to succeed in whatever fashion and means necessary. Where ever my life leads me I will always have an appreciation of the arts no matter the material, be that on a canvas or screen.
Gallery 2
On October 22nd, 2016 I visited the Institute of Contemporary Art which was holding “The Free Principle: Experiments in Art and Music” exhibition. The exhibition held was a mixture of many forms of art responding to the topic. The Mixed medias in the exhibition spanned from Paintings of all sorts, to Sculpture, to New Media (video, photographs, and music) Installations. Some of the artists included in the exhibition were Lilli Reynaud-Dewar, Muhal Richard Abrams, and Roscoe Mitchell. The exhibition was primarily based on works created from 1960’s onward heavily influenced by the Harlem Renaissance.
In light of the this exhibition which clearly references movements in history beyond fine arts like the Harlem Renaissance one cannot help but understand the impact of something such as a movement important to a greater majority. A movement that can evoke emotion such as the Harlem Renaissance did so by understanding the importance of the artist through his/her relationship with the audience. When we view images and art today like the ones seen at the exhibition, someone who can reference American history and art understands immediately how a movement can make people respond decades after the event.
The manner in which someone displays art is just as important as the creative process in reference to enhancing the viewer’s experience. There is an obvious difference between the physical act of visiting an exhibit and experiencing the exhibit through a form of new media be that on a computer through a website or slideshow. I do admit the actual piece is the “star of the show” almost always no matter the location; the presentation is merely an enhancement of the process in evoking emotion or memory through the use of senses.
I personally enjoy the presentation especially when it is in a form of New Media, but I contend that there is an absence of personal connection primarily speaking on the intimate viewing factors that can only be experienced in person. This intimate relationship is successful only through the viewing in the works at its actual location. It is one thing seeing these works prior to visiting on the ICU website but the experience in visiting the Rio Negro II or La Grande Oreille is something a camera simply cannot capture. The ability of including multiple senses in a work of art is important when attempting to evoke memory. Although, the visual aspect of memory is arguably the most important including hearing and touch will fortify the ability to include and immediately associate that memory with something else.
References:
- Bier, Arielle. “The Freedom Principle.” ART FORUM. Artforum International Magazine, Web. 21 Nov. 2016.
- Alvarado, Lisa. “LISAALVRARADO.” LISAALVRARADO.BIZ. Web. 21 Nov. 2016.
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“VISUALIST.” Lisa Alvarado: The Traditional Object. Web. 21 Nov. 2016.
- “ICA – Institute of Contemporary Art – Philadelphia, PA.” Institute of Contemporary Art – Philadelphia, PA. Web. 21 Nov. 2016.
Module 5: The Death of the Death of Art
Post Modernism is DEAD! At least the little bit of life it had is. Critics everywhere are calling for the successor to take the reigns but is it necessary? The inevitable death may be accredited to the technological revolution-taking place or to the outdated obsession with the author. The death should be simply accredited to the inevitable obsession with critics and artists alike who enjoy the “LABEL”.
With the successors being an abundant bunch I think we should ultimately take into account the points significant enough to take note of. Alan Kirby and his “Digimodernism” label understand that the obsession with the author was the downfall of Postmodernism, rightfully so. In a technological revolution anyone can create and interact with the click of a button. Much like the introduction of photography in at for the latter part of the 20th century, artists now have the job with combating and fortifying their art as something of value. The author now has the job of directly interacting with their audience; the value of art is seen and measured through ‘likes’, ‘retweets’, and ‘views’ this indefinitely puts the emphasis no longer on the author but the work.
As a result of the speeds in which technology is advancing the psychology behind the viewer is becoming more complex. The average person is exposed to thousands of advertisements a day. The artist now has the job of creating a piece of art, which can not only attract the audience but also maintain the attention for a long period of time. Due to the bombardment of not only advertisements but information per day the author now has to protect their name and work due to the vastness of the internet which can transport information from one website to another in a matter of seconds. Labeling this phenomenon is merely impossible for any critic, as no one has ever been exposed to a relationship and interaction like this in decades before. Perhaps the act of labeling is unnecessary.
Some may say the death of postmodernism was years before and something should take its place immediately; I say we understand that the act of labeling a phenomenon, which is unclear, intangible, and too vast, is useless. We label to make sense of something and to avoid disorder and mystery. The death of postmodernism has also taken the ‘Labeling’ with it. Not only has the diversity in creating art broadened but also the diversity of an artist and their respective style have become multidimensional. Cindy Sherman is best known and closely integrated with the postmodern philosophy. Her work in photography and feminism has fortified her stance in postmodernism even more.
Although, Cindy Sherman has her label deeply rooted with postmodernism I believe her personal views and vocalization of not being theory driven is interesting in her case. This idea of “the death of the label” insists artists aren’t focused on category rather the focus is on the message and the art itself.
References:
- Vermeulen, Timotheus, and Robin Van Den Akker. “Notes on Metamodernism | Vermeulen | Journal of Aesthetics & Culture.” Notes on Metamodernism | Vermeulen | Journal of Aesthetics & Culture. N.p., 2010.
- Kirby, Alan. “The Death of Postmodernism And Beyond.” Philosophy Now. N.p., 2006. Web.
- Barrett, Terry. Why Is That Art?: Aesthetics and Criticism of Contemporary Art. Oxford: Oxford UP, 2008. Print.
- Sherman, Cindy. “Cindy Sherman in Transformation”. Art21.org. 2016. Web.
Module 4: Post Modernism
Cindy Sherman is a feminist postmodern artist well known for her social commentary through photography. A majority of her work features herself portrayed in a selection of characters representing stereotypical ideals of women in society. Sherman’s works fortify the parameters of postmodernism in its embracing of artists who use art as a form of expression while rejecting any prior ideologies used in former movements including theories. However, her work isn’t a complete rejection of theories as seen in her Untitled Film Stills.
Cindy Sherman’s ‘Untitled Film Stills’ subscribes to the idea of fighting a world of inequality to manage her fight with feminism. The ‘Untitled Film Stills’ does showcase her feminism through her characters tactically positioned camera. This idea of innocence of not being aware of theory being an influence in her works might be in a distant world apart from the conscious but there is definitely some concern and influence of theory. Every modern artist seems to have a concern of historical context including theory; the physical work is definitely original but the concept is theoretically driven. This exclusion of theory might be a theory itself especially when Sherman uses feminism in her work to the full extent that she does. It is possible during her earlier works she is consciously attempting to suppress and resist theoretical influence but a conscious suppression isn’t always effective when a world and an individual who is in the public eye can’t completely suppress theory in fear of negative or an inability to get a message through. Her conscious suppression may be done with good intentions but there is always a subconscious influencing the role of the devils advocate.
In the Art 21 video Cindy mentions in her series now known as “Centerfolds” was originally named Horizontals as she didn’t want a preconceived notion of her works and characters. With that in mind these photographs are interpreted primarily through Sherman’s prior work and sole pieces. There is always a resistance of the art world in the sense that an artist is always facing a Foil who is attempting to make rules and place labels and Cindy is definitely playing that role. Duchamp had a philosophy that a spectator completes an art work, this philosophy and any works of art after has opened a new world in which an arts respects his own world as well as the views of others when they are deliberately releasing works in the public eye. This philosophy is a subjective to each artist in terms as to which spectators matter to each respective artist. Some resist the theorists ideals and it seems as if those artists gain as much as notoriety as others. For example some artists in the modern world of art and the importance of the spectator/artist connection has an impact on the work as a whole, Jackson Pollock’s success is credited to following rules and theory placed by the ideals of Clement Greenberg. Duchamp’s success is credited to sticking to his guns and constantly avoiding a label and embracing the ideals spectators and rejecting critics.
Ultimately, I believe an artist shouldn’t reject theory in fear of not being favored by a critic or a massive audience; in fact many artists who’ve rejected criticism in the past have been successful. If the conscious suppression is what makes an artist seems successful in postmodernism then by all means do it but is a movement or label more important than an artist’s personal message?
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Bibliography:
- Sherman, Cindy. “Untitled # 264”. Museum of Modern Art. 2016. Web. 10/28/16
- Sherman, Cindy. “Cindy Sherman in Transformation”. Art21.org. 2016. Web. 10/25/16
- Barrett, Terry. Why is That Art. Oxford University Press. New York. 2012. Print.
The Reluctant Formalist
The art of Andy Goldsworthy, defies the general Greenburg interpretation of formalism, ultimately, through his use of natural materials in its natural setting. The literal manipulation and fascination towards natural objects for its purpose of appreciating it in such a way, possibly, disregarding the common aesthetical definition or norm for what a formalist piece should be. Creating friction as we see it between a praised and highly regarded aesthetician of the likes of Clement Greenburg and his ability to create an audience towards his ideals of what forms of art and specific rules of what dictates modernism. The problem with creating structured rules on what should follow a general premise and personal interpretation always had a resistance in the art world. Goldsworthy has a respect and association with the general meaning of formalism created by a consensus, just simply through the appreciation of art for what it is. Barrett mentions the ‘slogan’ of formalism “Art for the sake of art” (Barrett, 115) for an emphasis on the defined consensus that formalism is art for art no matter what one man attempts to define it as.
Clement Greenburg had an idea of what art in the modern world should be through 3 simple, possibly vague to other artists, rules modern art should follow to be defined as such. Those rules, mentioned in his “Modernist Painting” essay, included a piece should be defined by boundaries, have a flat surface, and have a unique essences of color. The resistance of Greenbergian formalism comes in the mentioning of Flat and defined boundaries, as Goldsworthy has no such criteria in his work both in the standards of Greenberg and much others who agreed with his views on Modernism and formalism. This resistance of Goldsworthy towards Greenbergian formalism is always a two way street with the conclusion that because Greenberg is so adamant in his views of what his favored arts should be both in the physical appearance and in a formal inspired piece. Greenberg would appreciate the nature of Goldsworthy having a passion for new and natural materials but wouldn’t endorse Goldsworthy publically in similar ways to his much praised introduction of Pollock and other tradition formalists in the lines of his rules.
With the conclusion that Greenberg wouldn’t be sympathetic towards Goldsworthy’s work, it is safe to say the Kantian-Hegelian pre-Modern viewpoint would be more inclined in accepting Goldworthy’s work and likewise Goldsworthy would accept it. Barrett explains early formalism as where “one delights in something for its own sensual sake, and not for any other reason” (Barrett, 118). This view towards an artwork holds an aesthetic emotion with little to no boundaries in the sense of its “flatness” or “defined boundaries” rather for its existence of being a piece of art. The creation of rules may narrow the spectrum of possibilities for artist to convey a formal piece of art and also leave no appreciation for the view to see something other than a, flat and defined artwork defined by Greenbergian formalism.
Works cited:
- Barrett, Terry. Why Is That Art?: Aesthetics and Criticism of Contemporary Art. Oxford: Oxford UP, 2008. Print.
- Greenberg, Clement. Modernist Painting. Washington, D.C.: Voice of America, 1959. Print.
Tree of life
The history of art is complicated beyond measure and merely impossible to understand as one straight line from a definite beginning. Through the modern era of human history, art movements have evolved and referenced styles from centuries ago. But the most important thing to take away from the evolution of art is each distinctive, unique artist has his/her way of creating art; this extends from the Egyptians using carving tools to Picasso using a paintbrush. Humans have a unique ability of craving the newest thing while appreciating the past. In the 20th century to what little of the 21st we have lived, the evolution of movements and materials is possibly the most diverse it has been in Art History. In the 21st century Art can be made from different, more unique tools than ever and this idea of an artist being well versed in one style is more important than ever. The traditional mediums from the likes of clay to the simple paintbrush have and are crucial in the world of New Media.
New media is defined as “all that is related to the internet and the interplay between technology, images and sound.” (1.). This idea of contemporary art is very subjective and unspecified as to where it began but this revolution and inclusion of technology into an art world dominated by traditional mediums for most of its history and seems to be idealized as something that will continue to dominate for the foreseeable future. However, this new implementation and acceptance of technology shouldn’t be something a traditional artist should fear and actually embrace as much of the other mediums in the traditional world were embraced. For most of the 20th century artists like Salvador Dali, Andy Warhol, and Pablo Picasso have opened doors for others artist in the venture to different mediums and movements. As those artists were important and crucial in the development into what we see as the modern art. The likes of Raymond Loewy, Milton Glaser, and Paul Rand are just as important into what we know today as Design.
Although, New Media art is the use of technology in the creative process someone like Loewy, who never used new media in his work, would have been intrigued and very tolerant of technology in his creative process of his designs. Raymond Loewy is someone who should be accredited as a pioneer of Logo and Graphic design not only in his focus being Industrial design but as a man revered for his emphasis on the embracing of design in a general sense. Loewy’s résumé expands beyond other focuses of the mass umbrella of Design from the creation of logos such as Exxon, BP, Shell, and U.S. Mail to the creation of the structural design of the Greyhound bus and the Coca Cola Vending Machines. This evolution and emphasis on the importance of logo design then is placed on the hands of other pioneers of design such as Paul Rand, who created the designs such as the IBM logo, the ABC network logo, and the UPS logo. The main similarities that we see between the designs with Loewy and Rand are this idea of minimalism.
The minimalist Art Movement began post World War 2, with the more famous artists being sculptures and painters. The movement extends beyond fine arts and anything expressive, and can be a movement in the world of music and design. Although the movement in terms of its importance in fine arts has for the most part run it course it still lives in design and will possibly continue to live for a long time. Living in the 21st century we live in a world where we are bombarded with advertisements in our everyday lives and have little time to focus on each and every single thing thrown at us. This is where the idea of minimalist design is important and flies beyond the aesthetic visual of art and beauty but also accompanies psychology and what would catch the human eye without intimidation. Designers such as Paul Rand and his Logo design, David Carson and his unique Typography design, and even Ethan Marcotte and his Web Design
Being that this style is relevant now more than ever in the world of design I am personally intrigued beyond the aesthetics of the art but also fascinated by the psychology and mind mapping that goes into the simple style of such grand works. My works now and in the future are hopefully in the world of design both in web and logo design. Looking at how a simple logo can play a crucial role in an individual’s everyday life is nothing short of exciting for my work and me. Seeing how a something so simple as the Nike logo or Apple logo can become immediately recognized and iconic is worth looking into in my eyes. Being that I want to venture into the world of design I understand that New Media is very important and something of psychology within itself. Understanding and attempting to perfect a style in a world of technology, which is constantly evolving is impossible. I do however, plan on developing my own style and finding new technique, which can help in creating and even being a world and path opened by design giants such as Glaser, Milton, and Loewy.
Implementing my style with the use of multi-media is, for the time being, a sort of necessary part in Design and New Media. I believe continuing to maintain the excitement for leaning new techniques is crucial in being successful in my field of work. New media has this ability of connecting the user directly with his/her audience in an almost immediate pace. This understanding and using the fast paced information is intimidating but exciting for many reasons within itself. The Designers mentioned earlier have/had their techniques pretty figured out which is why they were successful in their own respects but I still have to find my style and may that be 2 years from now or 10 I’m pretty happy in knowing the impact my work whether that be with a team or a solo venture has had a impact in a world of technology which is constantly growing.
Works Cited:
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By Bailey Socha and Barbara Eber-Schmid. “WHAT IS NEW MEDIA?” WHAT IS NEW MEDIA? N.p., n.d. Web. 8 Oct. 2016.
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“Arthistory.net.” Arthistorynet. Bitter Soup, n.d. Web. 8 Oct. 2016.
Intent v. Content
“The artist’s business is to express emotions; and the only emotions he can express are those which he feels, namely his own…” (Collingwood, 126). The general concept of Art is a response of the artist exercising his right to convey emotion and create. A mutual relationship between the artist and his spectator is unique in every individual form of interpretation in the response to art. This unique response by every individual spectator is inevitable regardless if the artist intended a guided reaction or not by providing context. This allows and makes art, in its simplest form, become a medium for this communication between the artist and spectator. The artist should be unthreatened by this response and embrace the relationship created by the unique interpretations of his/her works as it is a mere understanding that art is a projection of emotion especially when shown to the public. Whether the interpretations are favorable or not it is a tool the artist can use to understand if his/her work is actively creating responses and generating publicity.
The importance of an artist in his/her embracing of the responses is crucial, when understanding it is also an opportunity to formulate and fortify stronger works and metaphors in future projects. When an artist shows his work in the public eye he/she immediately has to understand they are left vulnerable and shouldn’t shy away from the possibility of embracing emotions and responses through a broader audience. When displaying artwork in public from the smallest of venues to the largest, he/she has the decision and power to manipulate the spectator’s role in interpreting the work. The artist also has to understand that not all work can go without information of his/her message as it may make the cycle, between artist and spectator, completely subject to confusion; ultimately, making the intended message unimportant and misguided.
The purpose and function the spectator serves is important in completing the cycle of the artworks life’s intention. With context and prior knowledge of the artist and his/her work the spectator is now subject to ending with a similar but overall, unique conclusion of what the message of the work is. Louise Bourgeois’ works, for example, is subject to numerous, possibly, unintended interpretations without proper context. This is not necessarily bad as it adds a new dynamic in the work and relationship between her and her audience. Spectators who are well informed of her life and other works may have completely and unrelated interpretations to those who know nothing of her life and for this fact alone she has completed her purpose and intentions by showing her work in public.
Prior to knowing anything of Louise Bourgeois I understood the spider as a symbol of fear to many and a creature of the unknown. Seeing Louise’s constant use of a spider and understanding every artist has an intention for his/her work through every detail from the size to the color there was of course much more to the spider. Becoming slowly informed of the life of Bourgeois I now have a different, more unique interpretation of what the purpose of Spiders means in her works, and the symbol of fear and unknown to many, now becomes a symbol much more deeper and eloquent than conveyed before knowing her message. Bourgeois explains “The spider—why the spider? Because my best friend was my mother and she was deliberate, clever, patient, soothing, reasonable, dainty, subtle, indispensable, neat, and as useful as a spider”. The ability of understanding where an artist comes from should be a tool in enhancing the clarity of works that may be vague otherwise, but is not always necessary.
Bibliography:
- Bourgeois, Louise. Ode a Ma Mere: Neuf Pointes S̀eches Originales. Paris: Editions Du Solstice, 1995. Print.
- Collingwood, Robert George. Principals of Art. Oxford, England: Clarendon Press, 1938. Print.
Gallery 1 Photo Essay
On September 9th, 2016 I visited the Habitus installation, which is a part of the Philly Fringe Festival, located on Municipal Pier 9 121 North Columbus Boulevard, Philadelphia, PA 19106. This installation is the work of Artist, Ann Hamilton who is known for her works in many medias including textile design, sculptures, photography, video, and printmaking installations. She is most known for her work in Textile design and in the Habitus installation we are introduced to the visions of Ann and her expression of life through the history of Fabric. The installation includes an interactive piece in which multiple spinning curtains are controlled through pulleys. The Installation also presents two other artists who are to remain silent and through their work one artist is pulling fabric apart and the other is spinning wool.
In the exploration and interaction with the installations the sea of curtains and manner in which Ann draped the curtains immediately captivates the audience. Due to the placement of the installation being next to the pier, one can witness not only how the operation of the pulley affects the curtains but also how the constant winds manage the curtains as well. The installation attracted the likes of diverse groups of people both participating in the interactive part of the installation and those simply admiring the flow of the curtains. There was an additional aspect of the installation where a woman was pulling fabric and in the distance another woman was spinning wool which both have a direct association with the use of fabric to both in terms of creativity and using clothing as form of personality.
This installation has assisted me in putting life into perspective both in terms of how external factors in our lives can directly affect the flow and progression of life. The use of fabric being used by us as a form of showcasing our personality to the world is interesting; However, the message conveyed through the destruction of fabric is interesting seeing how something that is used to convey a message and judgment by others in the public eye can easily be taken apart. In addition, this installation allowed me to see how other artists can use many mediums to showcase the their message in simple forms and leave room for interpretation. Ann, in this case, left room for interpretation in visual as well as interactive aspects. The ability to make the viewer interact with the installation in a natural as well as a mechanical way is something I will definitely take into consideration in my future works.