Thursday, December 9, 2010

Chapter 22 Summary

 Thomas McEvilley describes an artist who takes philosophy to another level in “Sculpture in the Age of Doubt,” published 1999. Artist and philosopher Frances Torres takes the human experience to a different stage by the way he portrays time in his work. For example his piece Fifty Rains, 1991, depicts a beginning, middle, and future timeline by the choice of subjects. His theme was to display three defining moments in spanish history. The Post-Civil war era of Fascism in Spain, the death of Franco's successor, Luis Carrero Blanco in 1973, this caused the pause of Fascism, and finally, the unification of Spain and the rest of Europe in 1993. This work was contained in a room with damaged found objects that expressed the devastation and rise of the Spanish. This piece became post-ideological because of the suggested ideals about history itself.
Another topic that Torres chooses to express is the separation of the brain into three sections. Neurologist Paul McLean says that the brain functions in three different forces that work separately to revolutionize the system of the inner psyche; the brain stem, cerebral cortex, and the intermediary system. These sections of human mentality store past perceptions of social activity and continues to build upon it with time, thus Torres believes that we take from old stages of the brain and is perhaps, ruled by our animalistic nature subconsciously. His work Head of the dragon, 1981, explains the disastrous possibility of these separate parts conflicting with one another, the dragon fighting itself. Which brings the idea of creating a biological sense of entrapment. Although, only “self-willed” humanity can break such bondage. Another piece that expresses the human bondage is his Field of Action, 1982, which consists of a jeep resting on four TVs instead of wheels. The car represents transportation through the body and as humans having vehicles it shows how we can go out into the world to find, take, and gain new experiences. The TV symbolizes the mind while suggesting the reviewal of past historical elements. Torres seems to show humanity as it works its way through history to strive to accept social responsibility and past aggression to break the past mold of the human chamber called the brain.
  1. Could we live without tuning back to our animalistic nature?
  2. How can we move forward in our social ideals to create freedom?
  3. Should the present state of mind be the only time frame accounted for?   
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Chapter 20 Summary

Thomas McEvilley writes in his book “Sculpture in the Age of Doubt,” published 1999, about an artist who portrays more then just the physical presence of her work. Jana Sterbak is a Czech artist who uses the identity of her materials to express a meaning greater then what appears. She strives to establish the connection humanity has with its physical being and where exactly the soul stand within this chamber. To explore the restraints that society plays on how human should act, dress, talk, and just be, is a main theme throughout Sterbak's work. She captures the bondage of femininity and how suppressive the role of gender is by being clearly segregated. Another important message conveyed by Sterbak is the thought of the body as a prison with a spirit trapped inside, yet by acknowledgement of such a force brings the theory of breaking free.
In her piece Vanitas: Flesh Dress for an Albino Anorectic, 1987, she expresses the thought of her soul being bound by decaying flesh. When this piece is displayed without a human wearing the dress, it leaves a presence of absence, the soul has flown free from its cage only leaving the rotting meat behind. Another work by Sterbak that expresses the soul breaking from its entrappment is her Artist as Combustible 1986. Here she displays a woman standing naked with a flame bursting from her skull as if it were releasing the spiritual energy of her inner core. In the yogic tradition this would be an expression of freeing the soul. The flame being representational of her spirit, it sparks to recognize its prison and eventually allow the transformation of the soul, leaving its physicality behind. Although she accepts the realization of entrapment of our inner being, another third chamber of bondage becomes the classification of social norms, especially gender discrimination.
In her piece, I Want You to Feel the Way I Do (the Dress) 1985, she displays an electrified dress of metal mesh depicting the female role as a sex object. With the dress having “easy access” areas, it brings the thought of suppression and being chained to a tortuous game of how a woman should be. In her work Hairshirt, 1992, she shows a sleeveless shirt with male chest hair sown into the fabric, it is worn by a woman exposing her breasts through the hair. This points to how a woman is held in confinement by the male expectations of femininity. She declares the freedom of such restrained aspects of society by the realization of such discrimination as well as the physical limit placed on the body.
  1. Could art become something more then a physical presence?
  2. How can we change the treatment of our physical selves to a more spiritual level?
  3. Can society separate itself from the expectations of a human being?   
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Chapter 19 Summary

In chapter 19 in Thomas McEvilley's “Sculpture in the Age of Doubt,” published 1999, he discusses the role of found objects becoming the new post-modernist ideal. One artist who grasps the idea of organic objects being considered art is Ed Kienholz, who is widely known for his interpretations of social scenarios. Although Kienholz began as a painter, his transition to sculpture consisted of the way he progressed in portraying reality. He created life-size environments in which the viewer could physically be placed in the scene, allowing for a more incisive approach to creating realism. He begins to relate the used, or found, objects to be symbolic of societal progression through a recycled view. Kienholz used his previously worn objects to expose the process of renewal as a spiritual development. He wanted the exposure of past elements to still exist within its current use. For example his work Roxy's (1961-1962) a theme, or style, is portrayed involving the environment as the piece itself creating a social reaction and familiarity of found objects. It strives to explore a symbolic narrative, not so much like particular arrangement but rather like a hint of a larger commentary towards idealistic society. From this point of view he further pushes the limit of the literal in following works.
Kienholz begins the formation of a less abstracted idea to create direct clarity of the subject. For example in his work Sollie 17 (1979-1980) a character is formed depicting a scenario of the affects of “failing” the occupational pursuit. This clearly gives a statement regarding societal norms and the aftermath of devastation. When creating these situations, Kienholz strives to enclose the environment to be like a contained emotional pause of particular situations.
Overall it is difficult to distinguish the identity of Kienholz in the sense of categorizing which movement he belongs to. The Modernist belief goes back to the Enlightenment ideals and the thought of society as naturally inclined to progress with time. Post-modernists explore the Enlightenment generation, yet they do not see history as trust-worthy nor that society is a progressing force. Lastly, Pre-modernist seek a different path, to establish a new spiritual connection with the core of artistic beliefs before it was tainted by the theory of Enlightenment. Although Kienholz relates mostly to the post-modernist beliefs, he still portrays characteristics of each movement generating a freely conceived portrayal of humanity in itself.

  1. Is it necessary to develop a specific theme in your work?
  2. How can sculpture be further pushed to relay the message of self-exploration?
  3. Is any particular movement important to the progress of todays upcoming artists? Or should we disregard past artistic elements to create a new sense of raw emotion?   
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Chapter 7 Summary

Thomas McEvilley writes in his book “Sculpture in the Age of Doubt,” published 1999, about a particular artist who has helped shape the world of sculpture in a more personal sense. Artist Lucas Samaras was raised in Greece during WWII as well as the Greek civil war. Being raised in such an environment, he began to turn to art at a young age by creating his own toys out of anything he could find. When he was eleven his family moved to The United States where he stayed until going to Rutgers University to pursue his artistic career. It wasn't until 1964 that he began to separate from his family and begin his own self-exploration through his work.
Samaras aimed to reveal himself in his pieces yet keeping the viewers at a distance. To become completely open with expressing his life as art itself seemed to be his goal. Presenting a work called Room #1, he exposed items of familiarity that helped shape and build his being and transformation into maturity. This room displayed items that combined his living space as well as his studio, representing his transition to adulthood and exploration of past developments concerning his artistic achievements as well as growth. Another work that played with the idea of the artist's external identity was Book 4, which had an alluring affect yet the nails and sharp objects surrounding the book holds the viewer back from access of the information (or identity) contained inside. This exhibits the idea of wanting to allow an open self yet still suppressed by a wall of distance. When taking another approach to art, Samaras experimented with auto-polaroids, in which he completely divulged his soul by baring his body. His naked self suggests being completely defenseless without previous shields to hold back his true identity. His work has marked a new point that has personal life become the main element of artistic expression.
  1. Should there be a limit to how open an artist can be?
  2. Shouldn't an artist create work that develops their own being?
  3. Is the point of art just for the admiration of others?
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Project #5: Found Objects

“A Dream with the Realization of a Nightmare”

This project was a personal exploration of my emotional state. I visited experiences that have helped shape my artistic nature throughout this semester. The process began by my choice of wood as the main material, which I used tools that I had little experience with, so to improve those skills I wanted to become familiar with such methods.
I looked for items that had personal significance to my past and to portray an image of beauty and destruction, the swirling colors mixed with splattered soil, the earth's blood in my opinion. It expresses a statement of transformation from the awareness of past perceptions to evolve into a new form, hence the "Fuck the Past" quote. Although, it is still uncertain if this progression is for better.... or worse. 







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25 Sculptures: Assemblage

Susan Danis, “Bed,” Not dated
This piece gives a collective sense by the diverse variety of shoes. Every style possible seems to be piled together on this plain metal bed.

Lucy Harvey, “Assemblage Sculpture,” 2010
The variety of patterns on these organic shapes keeps the eye moving in and around the sculpture.

Janet Fullmer Bajorek, “Horizon,” 2010
The way the shapes are place on top of one another gives depth and space within the structure.

Michel Tuffery, “Corned Beef 2000,” 1994
Having the bull made out of corned beef tins provokes humor and irony in the piece.

Robert Rauschenberg, “Riding Bikes,” 1960
The neon lights create an energetic atmosphere giving the piece movement and balance.

Margaret Mellis, “F,” 1997
The unique choice of materials gives the structure an interesting flow from the faded colors to the shapes of each item.

Will Wagenaar, “The Lovingcup Family,” June 2009
Each character has its own individual uniqueness that separates them from one another, although they are made from the same objects.

Javier Astorga, “Dream of the Architect,” 2003
I like how the lines move around the face giving energy to the structure and capturing the strong presence that the facial expression captures.

Javier Astorga, “Little Fox Hidden in a Tree,” 2003
At first glance you notice the static flow of the net-like structure surrounding this creature, while reading the title you gain a story that provokes more thought on the interaction going on.

Wolfgang Ritschel, “The Double Helix: Key to Life,” Not Dated
The approach on the subject matter gives a lively feeling towards the chosen colors as well as the vivid patterns.
Javier Astorga, “Metamorphosis of a Dream,” 2003
I like how this expressive face is being held up by organic strands of metal giving tension to the work.

Joe Pogan, “Fish,” October 2006
The fish gives off a smooth movement because of how the materials are compiled together. They appear as though the objects were made for each spot of the creature.

Wayne Viens, “New Journey,” 2006
The texture of the faces gives off a rough vibe that moves the focus to the black glaring eyes.

Peter Thibeault, “Untitled,” 2006
I like how the pieces move together in a circular pattern to create a direct point of focus.

[dASAb], “data ECOsystems .HybridEntertainmentMatrix,” 2007
The piece is constantly going in various directions creating a static energy that gives the work an elaborate structure.

Colleen VanWyngarden, “Tender,” 2010
The texture of the skin is rough and gives a original surface adding to the theme of “Tender.”

William Shepherd, “Assemblage Sculpture,” Not Dated
The variety of toys gives a playful yet dark theme surrounding the crucified jesus in the center.

Evan Robart, Untitled, May 2007
I like the distance between each object, it gives space and allows the viewer to interact with the work.

James Robart Ford, “General Carbuncle,” 2007
The car is carefully covered in toy cars that create patterns by the colors.

Jeremy Mayor, Untitled, 2008
I like the diverse set of mechanical materials used to create this female figure.

Keith Parkenson, “Sunken,” 2009
With this structure you really can grasp the title by the expressive marks to the flow of the shapes.

Rosemary Pierce-Lackey, “Colorful Blocks – 2,” July 30, 2008
I like how you can see the space in between each cube allowing for empty space to become apart of the work.

Dan Walker, “Nova,” 2007
The colors just burst out of the center origin with the color orange exploding into yellow, it is beautiful and suits the title.

Dan Walker, “Pool,” 2007
The way the colors work together to create a bright, almost too bright, of a center truly captivates the viewer as though you were swimming into a light.

Hideki Kuwajima, Untitled, 2010
This piece is brilliant from the choice of glass as the material to the way the structure is assembled, it shines from how the objects reflect off one another.








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Thursday, December 2, 2010

Project #4: Wood

I love mysterious as well as exciting experiences. So, for this work I wanted something that would have interaction between the viewer and my piece. I decided to make a "Mystery Box" and have four objects that the audience would reach inside and feel around for. I will not, however, reveal the objects inside, each "mystery" will have a certain texture or shape that will resemble something... creepy, or sweet.  ;)


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