ARCHIVE - Creating a Conceptual Framework for Images - Week 3

ARCHIVE - time and narrative

taycan04 — Mon, 19 Mar 2007 23:23:46 -0700

"The pursuit of memory through archival techniques is invariably a melancholic activity." p. 136 I think that installation art can be a useful tool for an artist to create an event or memory that is significant to them. The white cube is an ideal space for this to occur due to it's controllable nature where the artist can create boundaries for context to become significant along with the time and narrative.

-Candice

ARCHIVE - 132-192

chijes12 — Fri, 16 Mar 2007 13:57:41 -0700

This reading brought new light to the concepts of presentation, and in turn interpretation, of installation art. Perception is created by experience and when you are presented with a completely new environment you have to use what you know to interpret it. The irony of this is that your perception is evolving at the same time. Through most of the installations in this book, I found myself in almost a fantasy and cartoon like state. These installations forced me really expand my thought process and to realize and respect the expressions of the artists. These new environments created by installations seem so fantastic because the artists are putting thought into every aspect of the piece. Everything that takes up space in an installation is subject to critique therefore making the original intent of the artist almost less profound than the final piece. Many of these pieces had an element of force to them regarding the audience. Often times I find myself quite reluctant to be forced to interact with anything but I feel installations have a way of hiding this "force". The force attacks our drive for stimulation and really puts interaction in the forfront of our priorities. I think installations should be constricted to a certain space so that we must question its placement as well as its content resulting in a level of interaction that will later be much more present.

ARCHIVE - Roland Barthes David

shadav09 — Fri, 16 Mar 2007 02:36:54 -0700

David Shannon

Roland Barthes's Extracts From Camera Lucida

In this writing, Barthes travels through his mind to differentiate the art of cinema and photography and to find out exactly what makes a photograph. I have to admit, this yellow packet sat in my bathroom as reading material for a little bit, and it took me awhile to find out what i liked about it (hehe). This is it; It is the part where he is trying to find his mother in all of the photographs of her (not just find her, but really FIND HER). This strikes home to me. Many a day I have found myself sitting down looking at old pictures of my mom and dad trying to get a grasp of who they are. Seeing pictures of them as children (innocent, the naive attitude) really gave me a sense of who they are and I can no longer look at them like parents but as people. Maybe that is why I always got along with my parents...

ARCHIVE - Week 3 Responce (((Time & Narrative)))

selcol15 — Mon, 29 Jan 2007 17:57:40 -0800

"Despite yourself...you're impressed by the fact that you're going to completely disappear." was an ominous beginning to the chapter "Time and Narrative." Although broad, that sentence covered the potential, and preferred submersive capability of most of the installations in this chapter. While some installations were soused in their stories, other sites found entrapment through the ability to publicly displace the audience in their comfortablity. At time's the artists intentions were the successors of their own memoragraphic history, and at other time's the personalization came from the view themselves. I'd like to focus on these two occurrences in two separate installations; one in which the time and narrative comes from the viewpoint of the artist in comparison to exhibits created for the sole purpose of integrating the time and narrative of strangers to fulfill the installation.

ARCHIVE - Roland Barthes "Extracts from Camera Lucida"

knemar26 — Sun, 28 Jan 2007 23:50:04 -0800

Roland Barthes “Extracts From Camera Lucida”

In this essay Barthes explores his relationship to being photographed and what a photograph represents about a person. This Essay was interesting and very personal. It was hard for me to follow all of his ideas but I liked some of them. I appreciated the anecdotes on his feelings about being seen by a camera (5), posing, wanting to appear “Noble” and hoping the camera captures that look. I liked his observance that you become an object, “It is my political right to be a subject that I must protect.” (5) He also goes into an interesting argument claiming that photography kills you, and death is what the camera does. The photograph is an historic and ethnographic reference. When the picture is taken tells you a lot about the story of the people, I liked how he describes this in the way the people dressed in William Klein’s photograph “Mayday, 1959.” He learned about style in the early 20th century from the way the men kept their fingernails long. I like how Barthes conclusion finnaly lead him to find a soul in a photograph, his mother. He explores all aspects of representation within a photograph and does not say, “This is me” when looking at a picture. Photos show a unique aspect of a person and can tell you something about the photographed person even if you can’t see them in the present moment.

ARCHIVE - Maurizo Cattlean week 3 or 2

wolale13 — Thu, 25 Jan 2007 22:27:54 -0800

After reading two-installation art books I finally found a certain style of installation art that I truly find fascinating and if you look on page 138 on bottom you will find the Lift. Maurizio Cattelan’s humorous style inspires me to think of the most obvious objects around and spin my own artistic twist to the object such as he did when he created the miniscule elevators. Every time I look at this picture I imagine what the local art critics had to say about his piece because I know they were probably a world apart from what the authors published in this book and it makes me laugh every time.

ARCHIVE - Mariko Mori

lewkyl13 — Thu, 25 Jan 2007 18:27:29 -0800

Mariko Mori made the most powerful innovative work of art i have seen in a while on page 188. Simply enough she created a play glass egg-like body capsule. Her piece of work is a testament to all of humanity, a feet that few could even attempt. Interwoven amongst the power and sheer transcendence of her endeavor is sublime beauty. Her work transcends time and space, the real art here isn’t even capable of comprehension by the outsider, for it is happening on a completely different plain of existence, its happening in her head, in the infinite.

ARCHIVE - 1.23.07 Field Trip Write-up

hailau12 — Thu, 25 Jan 2007 02:50:32 -0800

The Ivy was a bit intimidating. I was impressed when I saw Adidas and Macy’s signs that I recognized. I also thought it was awesome that a man that worked there built a machine that cut a certain sized sign because he needed it for a project.

At the Frye Museum, there were many pieces that I found interesting. The collection that stood out for me was the “Instructions for Idleness” series of photographs. I thought they were extremely witty and well done. The male character used for each photograph was perfect for the role and his expressions seemed quite honest and real. When looking at them, I didn’t feel like I was witnessing something that was staged, although I clearly was.

ARCHIVE - Week 3 response

nkijes24 — Tue, 23 Jan 2007 09:29:59 -0800

I recently found out the fine line that seperates installation art and sculpture and that line is the involvement of the audience. Many installation art pieces get misinterprated with sculptures because the viewer has no involment in it at all. Installation art is interractive and in my opinion should always be interactive or else it wiil just become a sculpture. The involvement of mediums such as photography and video also can help a piece. If an artist does a piece relating to a foreign country that most viewers will know nothing about, it adds more of an impact if the viewer sees photographs or videos that the artist took.

ARCHIVE - A transitory art form pushes boundaries

smieri24 — Tue, 23 Jan 2007 08:35:48 -0800

by Eric==

Many of the installations within Installation Art in the New Millennium illuminated the idea that many installation artists are increasingly mobile and reactive to the technological progressions of a global society. In the spirit of transience, this vagabond response seems the logical step in that installation art defies definition because it avoids stagnation and pushes to evolve at a speed consistent with society and its technology. But there is something troubling and problematic with this shift away from traditional space in that technology is increasingly involved and thus required in many installations. The installations tend to feel ‘dependent’ upon the technology to entice the ‘participatory audience’ into playing their critical part in the functioning of the installation. Whereas some installations require only minimal power for viewers to experience them, such as David Bunn’s “I feel better now, I feel the same,” where technology is not the focus or main apparatus that drives the experience—although the installation addresses the issue of trading-in old, organic ways of cataloguing information for digital storage methods— other installations are wholly dependent on technology to create the entire experience (136). I begin to feel as if this shift towards utilizing so much technology is impeding us artists from discovering relationships with specific localities, as well as using materials that are more natural in sustainable ways. Technology becomes so obsolete in little time, so much that we need address these speeds towards wastefulness. However, the decay of thrown out items can make quite a nice visual story as I found out recently while venturing through the city.