Experience #4 - John Freyer5/9/2019 John Freyer's talk about social practice art and his experience was riveting. I really enjoyed hearing about his motivations for certain projects and the intricacies that go into creating his work. There are so many steps, so many people to talk to, so much time put into each and every single piece that Freyer makes that it amazes me. I thought his piece about selling all of his things and then going to talk to the people who bought them is singlehandedly one of the coolest ideas I have ever heard. The amount of self-sacrifice that goes into such a work is part of why his work is so moving. I think that the deeply personal aspects of Freyer's work is what contributes to viewer interest and the monumental nature of his pieces. For example, the commentary that Freyer makes on addiction and his attempts to educate people about addiction and the very real and normal lives that addicts and addicts in recovery can have in his artwork is something that hits home for him, and that shows in his artwork. The passion he has for the subjects he is tackling allow for a more interesting visual experience and artistic experience in general as it is when one is truly passionate about something that the best art is made. Freyer's work goes to show how personal experience can greatly shape and, sometimes, completely direct artistic expression.
In terms of questions, I was wondering how one is able to get their work noticed as a social practice artist? Furthermore, how does one propose social practice art ideas to communities that an artist wants to impact? This talk will definitely influence my art. I want to make deeply personal art like this and involve the community as well. I think it is so important to find a topic that you are passionate about when making artwork and one that you can contribute personal experience and knowledge to as well. I want to be self-sacrificing in my artwork and value it above my material possessions. I also think it would be very interesting to work with an organization in the execution of my artwork.
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Experience #3 - Sasha Waters Freyer3/6/2019 Sasha Waters Freyer's talk about photography and film was incredibly interesting. I really really enjoyed learning about experimental film and documentaries. Experimental film reminds me a lot of abstract art but in moving, video form. I really like this idea of film equaling art. As a documentary fanatic, making documentaries sounds so cool but crazy tiresome. I found it really shocking that it takes 5 years on average to make a documentary, because I watch so many and I never thought about the amount of time and effort that goes into creating these highly informative works. I think Ms. Freyer's discussion of how artists usually have a side job to support their art is very important as being an artist is risky and having a job as a professor, teacher, or other art professional that is not necessarily freelance provides more security for one to pursue their art. Furthermore, I really enjoyed hearing about how Ms. Freyer's career changed over time and how she pursued all aspects of her craft. From majoring in photography and working with documentary photography to getting an MFA in film making and creating actual documentaries, her story represents how one's life can change course very easily. I think it also shows the flexibility in having an art career and being able to explore one's medium and creativity. I thought Ms. Freyer's experience in an artist colony was also very interesting. I have heard of artist colonies before, but I have never met anyone who was in one. I kind of want to be in one, just to know what it feels like to have such creative energy surrounding oneself.
I had some questions after reflecting on the talk. How does one become a documentarian? Who does one go to talk about ideas for a documentary and receive funding? Moreover, how much traveling, on average, does one do as a documentarian? Do artist colonies pay for food and living expenses in general? How long can one live in an artist colony? This talk definitely inspired my art. I am so much more interested in film and its correlation with art and the idea of using old cameras to create a sort of rustic appeal. I definitely want to use film in one of my works, but I am not sure how yet. I think experimental film is so cool, and I want to try to make one. I want to help out in a documentary, just once, to know what it's like because I am such a big fan of them and this talk just made me want to work on one even more. Experience #2 - Kirk O'Brien1/24/2019 Although I was unable to attend the actual talk, I really enjoyed Kirk O'Brien's talk about censorship in the comic world. I watched Kirk O'Brien's lunchtime lecture online through Facebook. This talk taught me so much about censorship in comics and the comic code authority and how it changed over time. My favorite aspect of the talk was when O'Brien showed images of old comics and talked about them. Comics were so morbid in the past, but I also understand why the comic code authority was considered ridiculous. There was definitely some crazy explicit content that I would not show my own children, but banning this content instead of just rating it is absolutely ridiculous. Just like films, comics are purchases that a consumer makes based on the information provided. If a rating system was created versus just an outright ban, then a child or a parent could know what comics are appropriate for them and what comics are not appropriate. The comic code authority also had crazy strict rules that censored things that made no sense. I understand censoring sex or gore or morbid content, but banning werewolves and vampires? That's just putting a cap on creativity and doesn't even work to create a more modest society. I also found how certain artists dealt with the comic code authority and rebelled against it incredibly interesting. Working against the system like that is what creates great artists and entrepreneurs. In conclusion, this talk gave me a lot of insight into the world of comics in the late 20th century.
I had a couple of questions that I could not ask because I did not attend the lecture. In particular, I was wondering how comics may be censored today? I don't read comics often, so I was wondering if there was a sort of standard today or can anything be published? Also, how has comic censorship been changed by the internet and the fast pace at which we innovate? Comics are so cool, and this lecture makes me want to read comics and invest time in understanding how they are created. Being able to create an entire world and mythology is so remarkable and requires such talent that I am in awe by the complexities of comic making. I want to try to make a comic one day or at least, write the plot to one. Furthermore, this talk gave me some insight into censorship and how artists deal with censorship. If I am ever censored, I want to be brave enough to just reject the censorship and publicize my artwork anyway. I really enjoyed attending the Japanese Aesthetic Lecture on October 31, 2018. The lecture was an hour long and very engaging. As someone who has always loved Japanese wood block prints, this lecture was informative and helpful . I found the analysis of Japanese aesthetics and placing the development of such aesthetics in a historical context particularly interesting as a history buff. Throughout the lecture, I would often draw connections between my history class and Art 2 knowledge of Wabi Sabi and what Ms. Adams was describing. This made the lecture more exciting as I was expanding on prior knowledge. I particularly enjoyed the format of the lecture. Juxtaposing the West and the East aesthetics and aesthetic history made her analysis even more powerful. Her inclusion of many examples helped me visualize the time period and how Japanese concepts of aesthetics manifest in real life. This lecture helped inform my own work because I have always wanted to incorporate the flatness and vibrant colors/patterns of Japanese woodblock prints and the Edo period. She provided many examples of artists that I can explore and try to snatch ideas and concepts from. Furthermore, the aesthetics of simplicity and beauty in mistakes is something not very much explored in the western world, and I hope to utilize these ideas. I am a perfectionist, and letting go of that personality trait may help me make more powerful work in a situation where perfectionism and strict painting is not ideal for my message. In addition, I kind of want to explore print making. I have never been a fan before, but being able to create multiple prints of the same drawing with different colors seems like something I would like to explore especially since I enjoy engaging the community in my work. Woodblock prints in particular interest me. I love the vibe of working with wood and the traditional media aesthetic of it. Experience #4 - ICA5/28/2018 On May 24th, I went to the Institute of Contemporary Art with my art class. I was there for an hour or so and it was absolutely phenomenal. I loved the exhibits and the architecture and the overall feel of the museum as it felt very sleek, modern, and fresh. From the outside, I didn't think the museum would have much light, but I was shocked to find out that the walls were actually translucent and let natural light in without it being glaring. I think the museum would be absolutely beautiful at sunrise or sunset. The look of the museum and its connections to the concept of time travel really inspired me to look into modern architecture and how it can serve as a messenger or a commentary on a certain subject.
Since we were one of the first school groups to be given a tour of the ICA, we were treated a little like guineau pigs which I thought was very cool. The watercolor activity was fun, but I would have liked more time to finish my artwork although I understand that more time on the activity would have meant less time looking at the actual works in the exhibition. Potentially more instruction on what we were supposed to do would have been nice as, maybe it was just me, I was a bit confused when we began the exercise. I think it is very cool that the ICA is making an effort to have interactive activities that are contingent to the architecture of the museum. In regards to the exhibit, Declaration, I absolute ADORED it. I loved the powerful social commentary in all of the work, and I especially enjoyed the interactive exhibits. Women's Words was one of my favorite pieces. Not only did I love the aesthetics of the layout and the colors, but having such grotesque statements about women being so upfront and personal was wild. It left a really big impression on me, and I want to pursue something where I am able to incorporate a wide variety of people and opinions into my artwork. The record your own podcast station was super fun, and I loved the idea of involving one's audience and allowing them to be heard on a platform one creates. I actually visited the Estman radio site multiple times, and, although my podcast has yet to be uploaded, I listened in on other recordings that were uploaded and just hearing all of these people's opinions and dumb thoughts knowing that most if not all of them were in that room, recording at that table, makes me feel connected to them in a sense? In a way, I considered this project to be a way to unite the community. In terms of other works I liked, GWAR was pretty cool although it did make me feel a little nauseous, the Mending project looked absolutely amazing, and the video of scuba divers just breathing seemed odd but also a good way to provoke thought within the viewer. My visit to the ICA inspired me to genuinely pursue my dreams in interactive art. I desperately want to involve my viewer in my artwork and engage them in something that I think is meaningful and will help them understand my message. For me, letting my viewers see my art in their own unique ways and changing it how they want to is probably one of my biggest motivations to create art. I've been thinking a lot about: How can I achieve this goal? Where should I go about finding an audience that I want my art to interact with? How do I accurately transmit my message? How do I get people to engage in the first place? author.jacqueline. she/her. senior. virginia, usa. art v. archives.
March 2020
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