30 Iconic Images

I had a harder time making this layout... and gave up on centering the image. As far as iconic images go, I think I understood the idea, but not all of my pictures convey a composition that would work for the Iconic Image project. I think I want to work with a Harry Potter image... and remove the fundamental aspect of the photo. Like perhaps something with Voldemort and Harry, and erasing both of them? I am not sure yet, but I am working with the ideas I have so far.

Sketches for Currency Project

These are my sketches for the Currency Project. I started with the idea of Historical architecture in Syracuse, NY, for I felt that the architecture in Syracuse was one of its richer surviving attributes. My research included talking to the University's leading architecture historian, and from her I was able to achieve a fair understanding of architecture in Syracuse, and leading architectures of the nineteenth and twentieth century in Syracuse. The architecture I chose to put on my currency all have to do with Syracuse University and the city in some shape or form. Although this was not required, I like the layers of conceptual thought my project evokes. For example, one of the houses I chose from a Syracuse Architect was bought and still remains in the family of the Mayor of Syracuse from 1914-1920. The rest of my currency depicts common architectural forms and font and aesthetics common of the renaissance revival period in architecture. Lastly, the name I chose for my currency adds another layer to my conceptual process for the project. Burhans, the name of my currency, is actually the last name of a Syracuse glass distributor that was famous for his intricate glass windows and glass work within the home.

Generative Processes

I am analyzing the second generation. This generation created several color compliments, with each pink (or red-violet) color coordinating to its complimenting green. The triadic color to a yellow green is a blue violet, which can also be seen in this generation. The slightly pink hued grays are monochromes, for a white was added to the pink color. Its split complements are red and violet, when referring to the original green color. Overall, the complimenting color relationship, yellow-green to red-violet, is the strongest color relationship.

Response to Donald Judd's Specific Objects

Judd’s work is conceptually complex, and contains so many intricate levels of thought that the reader gets lost in his constant analysis. His quote “Nothing made is completely objective, purely practical or merely present,” establishes a conclusion that I think addresses the question Why is minimalism theatre? Since nothing is completely present in minimalism, and it only is there to serve a purpose (the purpose being to entertain a viewer) Judd compares the level of minimalism with theatre. However, I am rather lost in deciphering how this pertains to minimalism being viewed as a theatre. In his essay, Judd specifically identifies the insufficiencies of painting and sculpture, and his entire paper is devoted to this single idea. Given the vast amount of artists referenced in his essay, Judd addresses minimalist art as a whole movement, which only confuses me more. The only way I can decipher minimalism as theatre is through the simplified forms and idea so that the message can be better conveyed by the viewer. I have a feeling that Judd is saying that painting and scuplture are the easily identified art, and that they display their conceptual ideas directly, like theatre.

Narrative Sketches Based on "The Little Green Monster"

For my narrative project, I decided to work with the idea of a plant being the little green monster, or an intrusive species. I originally started with two fairly concrete ideas. The first being a "weed" that grows up in a flower bed of near perfect flowers, and these flawless flowers are disgusted by the horrid thing growing in their bed. All the while, the human garderner is watching the flowers distastefully bludger the poor growing plant. Finally the biased and ultimately cruel flowers stretch their stems and gather above the poor plant to block its daily sunlight, slowly killing it as it can no longer make its own food. Eventually it dies, after pleas and silent woeful thoughts. When the gardener comes to remove what is left of the plant (remember he was completely ignorant of the situation and watched the poor plants destruction with interest) only to have the other proud flowers see that it was a bulb flower like themselves, and a rare one at that. Yet they feel no remorse.

I thought this story through very thoroughly, but did not decide to go through with it. Instead, being very interested in the character in The Little Prince, I decided to work with the idea that in a perfect world a plant is growing that is not familiar to the boy. Despite its normal qualities, it does not appear to belong, and so the boy uproots the plant, only to find that he destroyed something precious and dear in his world. To me, this evoked a stronger emotional loss than the first idea. Perhaps it is just me, but I could not feel an extreme amount of loss when he uprooted the plant, for it was so sad that individuals rarely give things that they do not understand a chance.

HyperVigilant: Dans ma chambre

Quintessential Ariel?

HyperVigilant: Week 3

The repetition in the petals

of the flower... so intriguing.

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HyperVigilant: Texture

Visually, wood surfaces are extremely appealing to me. In my art, I constantly use natural and organic forms, which is why my texture objects are recognizable from nature.

blog amalgamation

I could not help but wonder how leviosaaaa it would be to do an hp amalgamation. Btw... hp is such a diva.

Joseph Kosuth

One and Three Chairs

1965

1. How many chairs are in Kosuth’s artwork? Explain your answer.

In the excerpt from Plato's discussion, Glaucon, with direction from Socrates, decided that the carpenter was in fact the imitator of a real presence. For the one who builds a duplicate of the image is not the creator, but the imitator. In my opinion, the true imitation is the photograph of the chair. Yes, the artist did create art from a true chair, but through the transformation of media (true form to photograph) the chair is not longer in its original form, and hence an imitation of a true chair. However, I do not disagree with Glaucon and Socrates, because I also think that the wooden chair, or in the reading a bed build from a carpenter, is an imitation. All chairs follow a rule for form, and carpenters follow this set of initial rules to create deviations from the original chair. I do not believe that there was a first chair and from this carpenters built more, I think that there was an idea of a chair, and from this original idea, chairs are constructed. So in conclusion, the carpenter's version of a chair is another imitation, because it is a chair built from the original idea of a chair, and personalized by the builder- so it is no longer a true form. I only think one chair is present in Kosuth's artwork, and that is the definition of a chair. The thought, or theory of a chair is the purest form of chair, because it acts as the roots for all other chairs that are built, or painted, etc. The definition of chair can be referenced to as a chair, because it is the mold for all other models that come after. In a sense it is the only chair that there truly is, as all others come from it. So between the wooden chair, the photograph, and the definition, I believe the definition is the only chair in Kosuth's artwork because it is the purest form of a chair (see Socrates reference to God's idea for a chair.)

2. Which, if any, would Plato consider the real chair (the photograph, the wooden

chair, the dictionary definition, or none of them)? Explain your answer.

I want to say that Plato would consider the definition of the chair the real chair, for in their mindset God would have created the perfect example which would outshine all others. However, I am torn because individuals in this time appreciated art, and it was a huge part of education. An a picture would not alter the perfect form of a chair- but capture it, and preserve it for others to interpret. But in that sense- it would not be the actually chair, but just a snap shot of the true chair. Since photography captures the essence of the chair, and does not distort it, I want to say that the photograph would be considered the real chair by Plato. I am going to remain with my previous answer because the definition had to come first- the idea. For without the idea there could be no creation, and without the first chair created, there could be no photograph of the chair. So in this way, the photo of the chair is the farthest deviation from the real chair.