Proposed Sophomore Painting Project:
1. I will create a catalog of visual symbols, representing identities on the following levels:
-Universal
-National (American)
-Local
-Personal
Universal
Visual Art, Dance, Theater, Music, Literature, Labor (male and female), the Sciences, Family, Friendships, Romantic relationships, Faith (cross, jewish star, Om symbol)
National (American)
American Flag, Bald Eagle, Statue of Liberty,
Local (Baltimore)
Lord Baltimore portrait, crabs, ships, fruit cart, rowhome
Personal
dredlocks, business suit, hoop earrings,
2. I will go all around Baltimore asking a variety of people to choose the three images that best describe them.
3. I will log all of the data and use it to make a mural painting that includes these pieces of identity from the people of Baltimore.
*more to come as i further resolve my idea!*
Monday, September 29, 2008
Direction
The kind of artist that i want to be does not sit in a studio and make paintings.
I want to do work that is about people.
I want to do work that is of concern to people.
I want to do work that involves people.
I am a visually minded person, but i am also a socially minded person.
To be more specific, I have recently been concerned with the development, structure, and functioning of human society.
I think on the macro level - I often think in universals.
As I've seen from other artists, this work takes the form of projects more often then paintings.
These projects will require my skills as a fine artist, because they will require a level of quality, expertise, and background knowledge of art-making and the art world.
Museums today realize that they have a tradition of disconnect with majority of the population. The work that matters today breaks tradition in that it is no longer solely aesthetic. Art must respond to people.
A picture plane has two dimensions.
A sculpture has three dimensions.
A time-based piece has four dimensions.
I contend that the social sphere is the new fifth dimension of art.
I owe this inspiration and freshly acute sense of direction to Allan McCollum, and the lecture he just gave here at MICA.
I want to do work that is about people.
I want to do work that is of concern to people.
I want to do work that involves people.
I am a visually minded person, but i am also a socially minded person.
To be more specific, I have recently been concerned with the development, structure, and functioning of human society.
I think on the macro level - I often think in universals.
As I've seen from other artists, this work takes the form of projects more often then paintings.
These projects will require my skills as a fine artist, because they will require a level of quality, expertise, and background knowledge of art-making and the art world.
Museums today realize that they have a tradition of disconnect with majority of the population. The work that matters today breaks tradition in that it is no longer solely aesthetic. Art must respond to people.
A picture plane has two dimensions.
A sculpture has three dimensions.
A time-based piece has four dimensions.
I contend that the social sphere is the new fifth dimension of art.
I owe this inspiration and freshly acute sense of direction to Allan McCollum, and the lecture he just gave here at MICA.
Sunday, September 28, 2008
Should I be a muralist?
When I paint for myself, I can do anything I want.
I could juxtapose any type of figure in
any type of clothing,
doing any kind of action
during any point in history,
and it wouldn't have to be accurate or make sense.
If I paint for the public,
should my decisions be made according to
what is clear
and what others want?
Is granting others what they want necessarily a virtue in art?
I could juxtapose any type of figure in
any type of clothing,
doing any kind of action
during any point in history,
and it wouldn't have to be accurate or make sense.
If I paint for the public,
should my decisions be made according to
what is clear
and what others want?
Is granting others what they want necessarily a virtue in art?
Saturday, September 27, 2008
Night
Behind us she stretches far into the past,
man's history a trinket that rests in her lap.
Look now, man proves his superiority,
by carving florescent pockets
through her deep black body.
But who is man?
His machine's fleeting flames
have burned out in an instant
while the night remains.
man's history a trinket that rests in her lap.
Look now, man proves his superiority,
by carving florescent pockets
through her deep black body.
But who is man?
His machine's fleeting flames
have burned out in an instant
while the night remains.
Sunday, September 21, 2008
I have a thing for sunshine...
The Sun!
He slides over the curve of my spine,
rising from it's base
slowly up to the bare skin on my neck.
His warmness seeps through my clothes and muscles,
through the back of my ribcage,
reaching my innermost insides.
The city is thawed out of my core.
It is replaced by what is essential to live.
What is essential to live was not created by man:
school, money, religion, or fluorescent lights.
What is essential to live can be obtained by anyone who seeks it:
education, contentment, God, and the Sun.
He slides over the curve of my spine,
rising from it's base
slowly up to the bare skin on my neck.
His warmness seeps through my clothes and muscles,
through the back of my ribcage,
reaching my innermost insides.
The city is thawed out of my core.
It is replaced by what is essential to live.
What is essential to live was not created by man:
school, money, religion, or fluorescent lights.
What is essential to live can be obtained by anyone who seeks it:
education, contentment, God, and the Sun.
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