I am very happy with this poster. I finally feel like I have found a style that is my own but does not compromise the principles of design. For a long time I thought that good designs all looked a certain way, and made my own pieces according to this style. Through studying the work of others I realized that good designs do all have a commonality; their commonality is not style but design. Due to this realization I began to use elements that appealed to me, like pale colors, photographs, words, symbols, and negative space, to create a style that appeals to me and is still designed well. I am glad that I have finally gotten to a a point where design principles have become second nature, and that now I can more on the content of the piece. My poster reads "the most important thing is to not be placed and to not think." This is a good summary for what I have learned this year so far.
I like this page because I feel like it describes me and my aesthetic well. It uses some of my favorite materials: photographs, watercolor, and pen. It uses plenty of negative space and pale colors, which I prefer. Overall, I think it
1. How has your perspective about art changed throughout the process of organizing your
My perspective about art wasn't really changed by the show. I have a pretty strong idea about what I think art is; it has developed over a long period of time so it is really not so easily changed. My perspective about my own work however did change a little. Seeing how people responded to my work changed the way I think about it. It's quite interesting how as an artist you have your favorite pieces for what ever special reason, be it personal meaning or something else, but to the viewer these meanings are really nothing. All they see is what is there on the wall. It's interesting to here the stories they have to tell about your own work, and how different they are from what you see in it.
2. What would you do differently if you had the opportunity to do it over?
There are really only a few things that I would change about the show. For the most part I think it worked itself out quite nicely, and I probably wouldn't do it over again if I could. But, let's say I had to do it again. I would probably have spent more time trying to achieve an overall cohesion in the show. Basically what I mean is that I would have chosen a specific font to use throughout (on the walls, in the statement, on the labels, and on the invitation), as well as spending more time to place and replace the art on the walls in order to make an exhibition that flowed very naturally. The reason that I didn't really try to do this is because the show included three people, not just me. I always feel uncomfortable taking the leader roll because I'm too afraid to seem like a dictator or rude or mean or something, I don't know. I didn't want to be looked at as bossy, and I definitely didn't want to tell the others what to do; I respect them and I didn't want to overstep the boundaries. Looking back, though, I shouldn't have been so afraid. Both of them would have been totally fine with any suggestions and really this fear of hurting each other's feelings (which I think all three of us had a little bit) kept us from getting things done quickly. So basically overall what I would have done differently is increase the cohesion, increase the communication among all three of us, and decrease the fear of overstepping boundaries with suggestions. You don't want fear to keep the show from being a successful as it can be.
3. If you had unlimited time and resources, what else would you have done to complete
This is a really hard question. Well I'm just going to try and not think about it too much and say what comes to my mind first. More wall space, larger prints, huge projections, HUGE white walls, someone to handle all of the logistical things, and I guess that's it. Oh, and I would take a long. long time to try out every single option for everything until. Really there's nothing more I could ask for than a very large empty room with white walls and natural light in Paris or New York or London or some art/fashion capital where I could attract a good audience. Nothing lots of money can't buy.
4. What was the value of this experience for you?
The most valuable thing I got out of the whole experience was working with a group. Having Jinny, Joanna, and all of the other people in our classes who helped us out was the best part by far. Art tends to be a very self-centered (and kind of lonely) activity. Of course this is pretty nice most of the time, since it's like an escape from the real world. But it was so nice to have to other brilliant minds to ask questions, collaborate , and just to have around and talk to. Having the other two there was so helpful, and I definitely (definitely) couldn't have done it without them.
5. How could this process be enhanced for future Art 5 students?
I don't really think there's any one way to enhance the experience. This is the type of thing where you get out of it what you put in. As long as the artist is excited and dedicated to the experience (all of it and not just the art part) then others will be excited too, and it will no doubt be successful.
I am satisfied with my work. Just satisfied; not disappointed but also not thrilled. And I think this is a good thing. Of course it would be great if I could be 100% in love with every piece I make, but I'm afraid if that was true, then I wouldn't have any motivation to create more. I am always seeing what my work could have been, and what I could have done differently. I find this stupid of me, really. I did what was best in the moment. If I had known what I do now, then, I would have done it differently. But obviously I did not know then what I do now, so really there is no reason to feel regret for what is in the past (and can't be changed, anyway).
I am happy with my concept. Perhaps more so than I am with the pieces themselves. It is an idea that I feel is ubiquitous and can be applied to many different situations, and this is how I like to think.
I don't think my work is idea driven or technique driven. For me, I work from aesthetic. I imagine visually pleasing things in my head and create them. Sometimes I find meaning in the process of creating these imaginings, and also sometimes not.
By far the most difficult part of the process was creating physical forms of my ideas. Typically I work all digitally. Unfortunately, qualities like depth and presence are not always translated through pixels, so I opted for more tangible work this time around. I definitely did the best job that I could have. And from the process I have acquired a new appreciation for the machines that make my creative process so much easier.
I would give myself an A for this assignment. I am tempted to say B but I know that is only because I don't want to seem up myself. But I think it is better to seem up myself than to sell myself short.
These pieces began in my head, nearly two months ago in New York City. For my final project in my fine arts course at Parsons I was allowed to do basically whatever I wanted. When you can do nearly anything, call it art, and have it be art just because of the fact that it is called art, the sky is the limit. Given this thought and also given that I was very much distracted by all that the city holds, along with many other things, I was not thinking very conceptually. I barely had a story in mind for this series (very bad considering the title of my course was Visual Narratives). So I made the decision that my project would be solely based on what I found beautiful at the time.
I used what I had around me to construct this series: my camera, a white wall, light from the sun, a old white T-shirt, a variety of different faces (some friends, some strangers), $150 dollars in printer credits, and the flower stands located on every other street corner. I took portraits of the seven most interesting faced adolescents that I could find the courage to speak to, all wearing the same shirt against the same white wall. To display these photographs, I was given a spacious classroom with abundant natural light streaming in onto the white walls from enormous windows, the tips of skyscrapers held within their frames. To me, it was nothing short of perfection. The last of my spending money’s worth of white flowers hung, overlapping the photographs, obstructing the eyes, nose, mouths, or combinations of the three on each person’s face. The scent of the flowers penetrated the room. I had never expected it to turn out so ideally.
But of course, everything, especially the most ideal things, must come to an end. It was time to take down the photographs, say my goodbyes, and leave the life i had just begun getting used to.
I went back home to 'real life'. Every now and then I would look at the pictures, thinking about that exact moment in time. What was she thinking as I stared at her through the lens? What was I thinking when she stared back? I began to think about how strange it was that a piece of paper could trigger such thoughts and memories. I thought about how memories could never live up to actually living in that moment.
When I finally got around to thinking of ideas for my summer work, of course the thought of recreating this project came to me. However, I knew that I could not recreate it. The moment had already passed; the people in the pictures were gone, scattered back to their corner of the world. The flowers were dead. The photographs, however, remained. I realized that if I could not recreate the reality of that moment, then I could create a version of the pieces that would be like the memory: artificial.
In addition to creating an artificial representation of the first works, through these pieces I want to ponder the idea of what makes something beautiful.
Living flowers are beautiful, and artificial flowers are as well. However, artificial flowers never die, remaining pristine for far longer periods of time. Similarly, ideal beauty in the human form is achieved naturally, or by alteration of the body. However natural beauty fades, artificial features can be restored. In both of these cases, despite the disadvantages, the natural form is typically considered the most beautiful of the two.
It seems to me that there are many more factors to beauty than just the tangible. What makes something truly beautiful is that it is also fleeting; finite. The ephemeral nature of many beautiful things is what makes those things so beautiful. Because it is not there all the time, it is desired so much more.
Diane Arbus was a revolutionary photographer, especially considering the time she lived in. She depicted eerie and surreal scenes with people she met at strange hotels, parks, and morgues. All of her photos are black and white and square cropped. A common motif in her work is repetition; she often photographed pairs or groups of three. This is one of my favorite parts of her work. I also like how her portraits are posed. The subjects are typically just sitting or standing with a blank expression. I think because they are typically so strange, she wanted the main focus to be on the oddity. Although her work seems quite dark, she manages to pull it off in a way that creates a happy mood.
Gustav Klimt was a leading figure in the movement of the turn of the 19th century called Art Noveau. This movement is characterized by plant inspired lines and highly stylized motifs. Klimt tends to portray female figures in warm colors and even gold leaf, such as in The Kiss. His work looks very busy, often containing many figures and patterns, but still maintains a balance. Although it is busy it is not cluttered. What I love about his work is how he tightly crams many figures and shapes into a space, but leaves negative space in the surrounding areas. This is how he achieves balance.
you can find out more about him and view more of his work here.
What has art taught me? It is strange to think about because it has been in my life for a
while. When I think about it now, though, my relationship with art defines so much of me. My
personality, interests, and dreams have all been influenced by art. For me, it is the best reason for living.
When I speak of art, I mean something very different from what others mean when they
speak of it. For a lot of people art is synonymous with drawing and paintings and a weekly
primary school class. The way I define it is different. For me art is a way of looking at the world,
how each person interprets and expresses how they feel or what they see as beautiful.
I have developed a different way of seeing. It has become second nature for me to see
beauty in things that are not obviously beautiful. This is most special type of beauty because
it has to be found by yourself; no one can see it for you. It is so much more intriguing than
something anyone can see. I consider this ability to look past overt beauty a great quality, but at
the same time it is a curse. There are not so many people I appreciate beauty with. What most
people see a beautiful I see as mundane; what I see as beautiful they see as abnormal.
Perhaps the most important thing I learned is the importance of being an individual. In
order to really be appreciated and remembered you have to create a niche for yourself that only
you can fill; you must become irreplaceable. In order to do this one has to disregard what others
say and listen to what they think instead. This is the only way to be truly original.