Response to Group 3 – “Commodified Inspiration”

This was such a great presentation and super interesting.  It was also very well organized and the material stimulated you to think.  We all wonder about those who copy art and whose art is it, the conversations were inspiring as legal questions were brought up.   As an Indigenous artist, we all question what is appropriation and how and where are people culturally appropriating artwork. This is faced inside our tribes as well as with non-natives.  I think we all agreed that day that people who steal, are known to steal artwork from another person develop their own identity through that process so if you are going to be one of those it may have to be your cache. Also, what is Aura and how that affects mass distribution and manufacturing, was compelling to me. It was thought-provoking to discuss and talk about how one of my artists became a heroin addict and the aura of his work had negatively affected a feline. It makes us question if Aura has a spirit of some kind, or could this be “Mana”, and we humans can project our energy into objects or things.  I would say this is a real thing, an entity.  Or perhaps there are varying degrees of Aura, minimized through manufacturing, and exalted through originality.   This presentation made me question originality and reproduction and how to protect ourselves in the future if someone is to appropriate or reproduce our art and how not to copy or steal another person’s artwork and call it our own.

Response to Group 1 Presentation

Response to Group 1 Presentation

 

In response to the group one’s presentation and their topic, I loved this demonstration as it connected us with memories of home through an exploration of images and objects.  A multisensory expedition into our minds, and how they connected gustatory anchors to their place of home.  Some of the exercises brought up emotion for me as we remembered our home and my mother had died in July, it was, well, Melancholy to think of home and what she was there.  I also thought that the experiment of having to draw someone else’s home was an excellent way of getting them into their brain as to imagery that still presides, still vivid in their minds and communicatively connecting us.  This wasn’t based on the topic, but it certainly was a way to connect to the other students as well.   The presentation did speak of the ineffable, inside of their work they presented and the images they chose. I particularly loved Grae’s presentation on the red room where the artist represents and builds the exact room of her memory which leaves the person with a sensation of the ineffable.   The exercise connected us to home and melancholy though yearning and mourning of memories or objects that take us back to that anchor.   The memory activities were stimulating and expressed their purpose.  The Ouija board was super fun and showed a connection to something outside ourselves which we continue to seek, unconsciously, looking for reasons to believe there is more than just reality in our world.

THE TOOLS OF GENERATIVE ART, FROM FLASH TO NEURAL NETWORKS

Jason Bailey

 

 

Grace Hertlein was criticized for making art with a computer in the late ’60s, and called a “whore and traitor”.  These are drastic words but I would have to agree that art that is manipulated by machine is bastardized art in a way.  I do agree with the article “we are all computer nerds”, but where to our hands turn into machines?  Who is driving the hand, or how can we say that a computer is our hand, except for writing as we are working with a group of symbols in a collective way?

It is interesting to see artwork transformed digitally through AI into new images of art today.  After reading this article there seem to be two worlds.  The world of the exterior and the world of the interior of a computer.  In both worlds, we can create and forge creations.  When you think of paper or canvas in front of you there is a perspective that is mine that suggests that your work belongs to you, and you have control, physically over that work of art.  You sculpt and transform it through our historical measures.  You have the security that nobody can take your art.  Inside the computer world, you are a magician, shapeshifting your drawing and using tools and digital algorithms to create the desired image.  There is also a security issue that may be stolen by way of a software license or internet hacking.  Throughout this article, I am drawn back to proletariat artwork made for the masses, which is, in fact, providing a resource for middle America decoration, because it is easily manipulated to transform, easy to transport and copy.  Is this fine art, I think not, perhaps “kitsch” as I am a person who uses digital design tools and it is certainly fun and exploratory? Perhaps you could use this digitized artwork as a sketch process in which you embellish on canvas, much like photorealism or hyperrealism. If we wanted to move it to fine art, we would have to gather all the people that created the generator and give them credit as well much like a symphony.  To be presented as a collective creation.

Hyperrealism in Art – Ultimately, Is It Art or Skill?

“The Photorealists aimed to reproduce photographs as precisely as possible so that the human eye could not distinguish between the original and the resultant painting, whereas the Hyperrealists took the technique even further.”

There is no question is it art or skill, it is, in fact, both, if not better than the art itself. The Hyperrealists through technique, analysis, skill, gridding, projectors, transform a photo into a 3-d painting by adding their unique perspective through only their eyes to transform an image into something emotional and deeply moving.  The artists embed their aura into the work and birthing a new enhanced image, which is artwork backed by skill, but then  don’t all artists have the skill and a unique way of seeing things?  I find this interesting and pushing on the Surreal or sublime, to embedding a photo into real life, and what is real life?  Real-life is organic and textured when a photo is taken a lot of this texture is lost, but because we see in 3D normally it’s unique and stimulating to view a flat image into a 3D sensation.  I can understand that by adding this texture, makes the image feel more real as our eye starts recognizing it as real life.  So, what is this texture that one sees? It is born out of the organic and reality and synthesized into a work of art that the artist is hypersensitive to be able to see and express through his talents.

RESPONSE TO VIJA CELMINS: SAYING THE UNSAYABLE AND HYPERREALISM IN ART – ULTIMATELY, IS IT ART OR SKILL?

I admire hype realism artists since I watched their paintings many years ago. They have demonstrated an extremely interesting world with many details. These paintings demonstrate the dedicated points, lines, lightness, and so on, and they are easy to ignored by people. Many people compare these paintings with photos, and consider the meanings of hype realism paintings. I think the biggest difference of these types of art is the hyper realism painting can demonstrates more details to people and the process of doing that is also worth to consider. It’s mainly because the process of creating these paintings are also the tests for techniques, patient, and passion for art. As the VIJA CELMINS said ‘’drawing one thing repeatedly then we can get an physical real one’’. I think a delicate work should to spend a lot times to achieve .

Response to the melancholy of art(have posted on march 15)

In this article, “melancholy” relates to the loss of an object, which can be an illusion or a real person; in addition, melancholy also can be a part of creativity(8). At the 19th century, melancholy is connected with art, and it is regarded as a kind of inspiration. By the nineteenth century, the personification of melancholy had persuasively braided together seemingly contradictory attributes—neurasthenic suffering and bursts of creative brilliance—and thereby served as a coveted standard for the Romantic sensibility(9). “The world of the past is metonymically attached to the present through the material stuff it has left behind (p4)”. As a result, some of the paintings can form a kind of atmosphere that can abolish time and space connecting the viewers and the paintings together. Similar feelings, like melancholy, would become the bridge connecting the authors/ artists together. Although the artists have gone, their art projects will be cared for and perpetuated by these livings.

Process Notes and Photos

I wasn’t really sure what I was going to put on the skin so I did this quick line in using Automatism and tried to get a feel as to what it was that was going to come out.

Drawing in Automatism prior to execution

So now reflection on it, the freedom of line and I think the little Raven is in there on the bottom quarter of this image, also there is a pole like a figure to the top right which ended up in the drawing on the bottom right.  The trees were standing tall in the back but then I moved them into a starburst.

The Blank Canvas, which took some wrestling to get it to the right shape and size as when I stretched it, it shrunk 1/2 inch all around so I had to make another stretcher for the inside, it wasn’t tight but it was workable.

 

Missing Submissions

Catherine de Zezgher on Ed Pien

What a great read. I love getting to read a piece which is really all about art. Pien’s work to intertwine histories and exploration of the origin of ‘the other’ is fascinating. I love the parallels between Pien’s personal history and the history of his lineage. I’m thrilled by the fact that his work comes from a specific, personal place but still maintains an open-endedness, allowing the viewer to slip in and out of his intentionality and build their own relationship/meaning.
Aesthetic Value: Beauty, Ugliness and Incoherence by Matthew Kieran

I always find this conversation of beauty in philosophy (and thus art) to be really interesting and always end spiraling down the same rabbit hole. Trying to decipher what is beautiful and what is ugly seems to be an endless debate with two distinct camps — the eye of the beholder and the objective truth. I like hearing Kieran talk about music in his argument as well. Pulling punk rock into his argument and speaking about grotesqueness having its own appeal. I think this is a really good place where the argument of the eye (or ear) of the beholder could be employed. Is it possible that one could genuinely experience punk rock as beautiful? I say yes. Because I experience it that way. Not as something ugly to bask in but as something with its own beauty.
The Tools of Generative Art, From Flash To Neural Networks

This is a really good read. I found it especially interesting right now as I have been working more and more with technology, integrating it into my art making process and often producing completely digital works. I didn’t quite realize the long history of generative art as someone who has, for most of her life, really rejected technology as a tool and resource. I find it fascinating and a great example of the potential of digital artworks when the narrator talks about the recreation of the streets in a single work and how long it would take someone to do that by hand. By using technology as an aid the artistic community is able to create vast iterations without committing their entire body of work to the meticulousness of hand done iterations.

The Gift

These are a couple of Youtube channels I have been overmatching this quarantine. If anyone needs some semi-mindless amusement.

This one is pure silliness and inspired much laughter for me. Particularly good for anyone into astrology or astrological tropes. 

https://www.youtube.com/user/DaBootyBoiiz

this one has some silly videos and some that are a bit more critical, and some are a mix 

 

https://www.youtube.com/user/watchcut