Artist Blog: Olafur Eliasson 3.28.10

In my class Contemporary Issues in Photography, I was given the assignment of a reading discussing ecstasy(not the drug, the feeling). The text outlined the history of the term and how the emotion can be employed when viewing art. It also included examples of artists which have achieved work worthy of such terminology. One of the privileged artists is Olafur Eliasson. Eliasson is a Danish-Icelandic artist famed for producing a multitude of instillations in public space. The reading described one of his works, The Weather Project (2003). This project was for the Turbine Hall of the Tate Modern in London. Using humidifiers to create a mist and a hundreds of monocrhomatic lamps, Eliasson succeeded in creating an illusion of the sun at twilight. The hall ceiling was covered with a large mirror allowing the visitors to see themselves as tiny black shadows amongst the "sun." The display attracted two million visitors, many who interacted with the piece by laying on the museum ground to bask in the glow.

Eliasson work revolves around bringing the 'natural' phenomena into an unorthodox place. By doing so, he encourages the viewer to consider their physical environment. His works inspire and allow room for contemplation.

Artist Blog: Eric Cheung and Sean Martindale (3/21/10)

I found their project, "Poster Pocket Plants" through a fashionista website, Modish.

It's almost not fair how well she speaks about this work. I want to take half of her description and use that as an artist statement. Isn't that the same issue visiting artist Hank Willis Thomas had?

Eric Cheung and Sean Martindale are based in Toronto, Canada. Armed with box cutters and gloves, the artists cut into poster advertisements and shape funnels from the poster material. These then become homes for various plant life which liven the urban landscape. Sadly, the life-span of these plants are very short; as these pocket plants are filled with a handful of soil and a few sprays of water. Their lives are also severed by a posting of a new advertisement. The plants are also victims of theft. This however hasn't discouraged their makers. They continue planting and have begun to experiment with new plants which can survive in different heat and lighting conditions.

While the inventors of Poster Pocket Plants recognize that their instillations are ephemeral, the succeed in re-instating nature into the visual chaos present in urban cities.They also provide a templates on their blog for this project which invites participation. In an interview with the garden activists, Martindale speaks of "activating public space" and "introducing nature to the urban environment in ways that might encourage others to do the same, or to at least consider such possibilities." (Torontoist)

I have never felt such a greater bond with an artist(s) before. I connect to their work so strongly because it has all the elements of artwork that I believe in. The flowers I have created of marketing advertisements in catalogues and magazines are a scaled down versions of their mega billboard posters. The ideology of re-contextualizing nature is there as well. I think I might try to make a pocket planter.

Here are some great images:

Idea Blog (3/11/10)

I always find it interesting when art work moves in a circle. I can't decide if it can be positive or negative. Basically, I found that I am returning to a lot of the ideas I had in the beginning of Senior Portfolio. An example of this would be the creation of the paper flowers. I had pondered creating a paper made jungle out of advertisements and lo and behold, seven months later, I have begun production. After my midterm critique, I have decided to focus more on consumer groups/audiences and how they are visually seduced by consumerism. I will be creating flowers from various advertisements and then photographic them in natural environments that I am assuming the same artist would find visually appealing. A long time ago, I had turned to the book, "A Natural History of the Senses, by Diane Ackerman for inspiration. The book is beautifully written as it outlines every physical sense, such as sight, sound, and touch. Ackerman writes very scientifically but introducing stimulating descriptions which makes each chapter read more as a poem. I had thought that this book would act as a bible for me during senior portfolio, because I thought work would somehow grow from this text. Now, I am turning to it once again to investigate the sense of sight. I am hoping that this provide me with some ideas of how to create my imagery.

Artist Lecture #3: Erik Brandt

The lecture I attended yesterday at Grace Street Theater was very interactive. Erik Brandt, a former VCU student graced the department by giving a fanatical talk. A sea of newspaper folded hats set the stage. Upon arrival, Brandt rallied the students to participate in a Bonsai. This could possibly be a Japanese exercise, but it wasn't clearly explained as Brandt squawked Japanese. A champion of travel, Brandt has reaped the benefits of language and experience from his adventures. Growing up in Egypt, teaching in Qatar as well as touring many other countries underlies Brandt's connection with language. Most of his work glorifies a mixture of language. Incorporating foreign languages into English text, Brandt explores identify composed by language.

While I wasn't able to follow the talk, I was amused by Brandt's character as he jumped and gestured excitedly. I was intrigued by a student assignment he showcased. Employed at Minneapolis College of Art and Design, Brandt's students participated in an assignment to participate in, "The Haiti Poster Project," a collaboration between artists and designer benefiting victims of the earthquake.Brant added on a twist-a limitation. The students were to create these posters with an awareness for a point of empathy, to design without power(technology). Thus the works were primitive and bare, but the approach is extremly intelligent to cover all aspects of the theme.

Here are some of Erik Brandt's work:

Artist Blog: Eloise Corr Danch 3/7/10

Eloise Corr Danch is a brooklyn based designer and artist. Beginning her studies at the University of Montana, Danch honed her skills into painting and illustration. While she continued her studies at 3 other schools, she recieved her Masters of Arts in Illustration in 2007. Her resume is impressive as she has a long list of skills and expertise and awards. Danch has scored mega clients such as Anthropologie, Macy's and Sony Entertainment Group, just to name a few.

Danch has started to rise in fame, as her work with Macy's has attracted the likes of Martha Stewart. Danch handcrafted 2,500 handmade paper flowers which were arranged into swirling garlands and 20 ornate headdresses. These were shown in the store's 23 display windows at Macy's New York flagship at Heralds square in 2009. The display is breathtaking, not only in the multitude of the flowers but also with the bright colors and crisp details. This work managed to capture Martha Stewart's interest and Danch was featured on the television show, creating large paper poppies.

I've been carefully studying Danch's few images and those I find on art blogs so that I could gain some knowledge of her paper craft. What I would give to be able to have a solid understanding of her technique! I'm jealous because she is able to build a variety of flowers where as the few I have made resemble a floral form.

Idea Blog for (3/4/10)

I've been feeling really overwhelmed with my project. I turned to Paul to give me a concept pep talk. He suggested that I do an idea blab. So I decided to follow a writing template exercise given to me for English 200. My teacher had given me an outline of tasks to direct me to creating a discovery draft for my research paper. I think this would could also work towards developing and solidifying my concept. My English teacher allowed us to complete this assignment very liberally, allowing us to answering in alternative forms such as lists,paragraph, bullet points, rhyming etc. So, this may seem very unorganized, but I know it's a step in the right direction.

1. Start by phrasing your main claim. A claim is a debatable statement—an assertion that reasonable people might agree or disagree with. Your main claim will serve as the centerpiece of your argument. Of course the claim you make here need not be the final version! You can revise it again and again. A question is not a claim. A question cannot, by definition, be a claim. A claim is an assertion, not an interrogation. Do not phrase your main claim as a question.

This was my statement last semester:
My work is meant to convince the audience
that people do not engage in nature like they
used to. Society has been entangled by
materialistic consumer habits which have been
brought upon by corporate marketing material.

This semester: _______

2. Write three or four research questions related to your topic. NONE of these questions may be phrased in such a way that would allow for a “yes” or “no” answer. Research questions are questions you ask yourself about your topic, the answers to which you do not know, and may never know. Don’t waste your time asking questions with easy or obvious answers. And of course you need not attempt to answer the questions here. Just focus on asking them. Remember who, what, when, where, why and how. You might ask a question for each of these.

What product/industry is the number one item sold?

What culture defies consumerism by not buying into advertising manipulations?

Why do we purchase so much junk?

Are stores that specialize in an item or trade more successful than mass merchandise retailer stores?

Who invited mass merchandise retailer stores?

In the past, mass merchandise retailer stores were feared and questioned as it compromised specialized stores and mom and pop businesses, why are they so welcomed now?

When will people turn away from consumerism and return to basic essentials and needs?

Will the age of "going green," actually help our earth?

How many companies are exploiting the agenda of going "green"?



3. Describe specifically why your chosen topic interests you and might or might not interest your readers.

I recently recognized that I have developed a terrible habit of consumption. When I began to investigate this problem, I tried to pin point why I was buying things. I soon realized that I associate going shopping as an activity. From there, I realized I need to re-evaluate my priorities. I created lists of what I thought was beautiful and what made me happy. I realized that most of the items that I listed related to nature. With that list in hand, I figured out my problem, I was trading valuable time with nature and the outdoors for spending and consuming. Working on this project has helped me. I've had more opportunities to involve myself in better activities and I have dedicated time set aside for me to interact with nature.



4. Describe your feelings and biases about the topic. In what ways might these influence your research or affect your handling of the topic?

I have a feeling of strong devotion for this topic. I think I could call it more of an urge. An urge to resolve this habit and "return" to nature. I think that my interest in this topic will guarantee dedication, as well as the demand and weight of importance on my workload.


5. Identify three or four key words or terms related to your topic and give me their etymologies, focusing on the ones most interesting or relevant to you. If you don’t know what an etymology is, look it up. Etymologies can be found all over the place. Wikipedia is a great place to start. Failing that, try any good online dictionary. Do not simply copy and paste the etymologies. Write them down. Type them out. Understand them.

Product:

product etymology:

c.1430, "mathematical quantity obtained by multiplication," from M.L. productum, from L. "something produced," noun use of neuter pp. of producere "bring forth" (see produce). General sense of "anything produced" is attested in Eng. from 1575.

Advertising:

advertise etymology:

early 15c., "to take notice of," from M.Fr. advertiss-, prp. stem of a(d)vertir "to warn," from L. advertere "turn toward," from ad- "toward" + vertere "to turn" see versus). Sense shifted to "to give notice to others, warn" (late 15c.) by influence of advertisement. Original meaning remains in advert "to give attention to."

Consumerism:

consumerism etymology:

1944, "protection of the consumer's interest," from consumer + -ism. Also, "encouraging consumption as an economic policy" (1960). Related: Consumerist (1965, n.; 1969, adj.).

Market:

market etymology:

mid-12c., "a meeting at a fixed time for buying and selling livestock and provisions," from O.N.Fr. market (O.Fr. marchiet, Fr. marché), from L. mercatus "trading, trade, market" (cf. It. mercato, Sp. mercado), from pp. of mercari "to trade, deal in, buy," from merx (gen. mercis) "wares, merchandise," from Italic root *merk-, possibly from Etruscan, referring to various aspects of economics. Meaning "public building or space where markets are held" first attested mid-13c. Sense of "sales, as controlled by supply and demand" is from 1680s. The verb is 1630s, from the noun. Market value (1690s) first attested in writings of John Locke. Market economy is from 1951; market research is from 1926.

Garden:

garden etymology:

c.1300, from O.N.Fr. gardin, from V.L. hortus gardinus "enclosed garden," via Frank. *gardo, from P.Gmc. *gardon (cf. O.Fris. garda, O.H.G. garto, Ger. Garten "garden," O.E. geard "enclosure," see yard (1)). The verb is first attested in 1570s. Related: Gardened; gardening. Garden variety in figurative sense first recorded 1928.

Flower:

flower (n.) etymology:

c.1200, from O.Fr. flor, from L. florem (nom. flos) "flower" (see flora), from PIE base *bhlo- "to blossom, flourish" (cf. M.Ir. blath, Welsh blawd "blossom, flower," O.E. blowan "to flower, bloom"). Modern spelling is 14c. Ousted O.E. cognate blostm (see blossom). Also used from 13c. in sense of "finest part or product of anything." The verb is first recorded early 13c. Related: Flowered; flowering. Flower children "gentle hippies" is from 1967.

Nature:

nature etymology:

c.1300, "essential qualities, innate disposition," also "creative power in the material world," from O.Fr. nature, from L. natura "course of things, natural character, the universe," lit. "birth," from natus "born," pp. of nasci "to be born," from PIE *gene- "to give birth, beget" (see genus). Original sense is in human nature. Meaning "inherent, dominating power or impulse" of a person or thing is from c.1386. Contrasted with art since 1704. Nature and nurture have been contrasted since 1874.

Nature should be avoided in such vague expressions as 'a lover of nature,' 'poems about nature.' Unless more specific statements follow, the reader cannot tell whether the poems have to do with natural scenery, rural life, the sunset, the untouched wilderness, or the habits of squirrels." [Strunk & White, "The Elements of Style," 3rd ed., 1979]

Naturist "participant in the movement for communal nudity" is from 1929.

Extra: Some important quotes from The Encyclopedia of American Girls.

-Consumerism has also become a vital arena which many girls explore new identities and embrace or challenge the values of the dominant culture.

-At the same time, however, consumer culture has also steered girls toward prescribed gender role and culturally acceptable aspirations.

-In the girl, they believed the had discovered an unproblematic consumer, impressionable, loyal, and perhaps most important-influential.

-They also taught girls about culturally prescribed ideals of femininity and how to achieve them through consumption. Advertisements frequently reinforced traditional gender norms, addressing girls as future wives and homemakers.

-Though marriage was still years away, numerous advertisements reminded preteen and adolescent girls that maintain their charm and good was a key ingredient in achieving social success and presumably in enhancing their marital prospects.

-Barbie linked teenage liberation with consumption, teaching girls to associate femininity and being grown up with the joys of shopping, going to the beauty parlor and having a boyfriend.

-Toy manufacturers and toy retailers have also perfected an entire aesthetic code for marketing to girls. Toy stores often demarcate the girls' toy aisles with pink and pastel colors, a sharp contrast to the boys' aisles with their bold primary colors. These visual cues let girls know what section of the store they are supposed to feel at home shopping. Toy markers are so committed to these distinct gender-coding formulas that the even try to revive sluggish sales of girls' toys by "pinking them up

-As a result, girls' consumerism has often given rise to heated debate about the growing authority of the marketplace and the demise of family values and childhood innocence.