Context, Concept, and referencing everything to acquire legitimacy, credibility

Somehow I was disturbed by Tuesday's crit class. .
I guess the one thing I would hope to achieve while being at the MFA program is to talk incessantly, and sound as if what I've said is of grave importance as I place my work into some kind of context so it's just not pretty, cool, or riveting. Oh to explain away your thoughts, your musings, your who the fuck knows reasons for doing what you want to do.
Sarcastic was one of the words I heard about my work. Nate I just don't listen to. I can't. I find him utterly full of nonsense and finding the easy route of playing the devil's advocate as if he is coming from some grand source of knowledge. I want to tell him to go play with his computer and shut up.
One of the things I've dreaded most of academia and mfa programs is the spin and bullshit one must attach to their work.
Maybe I'm just annoyed that I haven't clarified what it is I'm doing. But then why do I have to know?
Why can't it just be one big grand exploration. I've already put shows together, written grants, had my work shown and travel around, etc. It was my choice not to push my work and work prolifically and instead move to Maine, garden, and not be a part of the art scene I was finding so pathetic and easy to manipulate.
When I say I could have been a contender it is not because I was gypped. I've always first and foremost wanted to enjoy life and celebrate it, which is what I've done. When things started happening in NY I immediately just wanted to play and create and follow whatever path I desired.
Yes yes, I understand to have a goal in mind, even better a deadline, to accomplish something. No problem there, but to have others try to contextualize my work or force me to put a name on it, is rather pathetic. I feel like I'm 17 and ready to rebel from any norms that someone thinks works best for all students.
It felt so ridiculous to me yesterday that I had to make fun of myself for allowing myself to be the spectacle, on stage and playing the game.
Not a single person in the class has a serious clue about flamenco and somehow thinks it's a bunch of gypsy girls shaking their hips and looking pretty. Seriously pathetic that I have to explain, which I really didn't. On top of that most of the students haven't a clue even how to respond. They either sound like pretentious morons who are trying to sound as if they have a clue or they are completely tuned out (hello Eleanor and Nate). The level of seriousness felt as mediocre as one can possibly expect. Owen I feel you (and Jolene) are the only ones who actually can shed some new light and perspectives to help the student understand they are not alone in their thoughts and/or to give them some sense of structure and guidance that makes sense.
Perhaps I will take Alicia's approach and layer upon layer upon layer every single artist that has some relation/ influence to the work I am doing and then  "react" to it in my "new" work.

photography, performance, video
supposed history of a persona
supposedly invented black ballerina who danced back in the 20s taking antonova among other personas.
if i look at these videos that Eleanor did I have to laugh because their level of authenticity is pretty non convincing. I think she knows that and almost pokes fun at herself. The flamenco dancer is a joke. Actually they all are a joke.  Why exactly should I read about this woman? because she did something similar to what i'm doing? because I should acknowledge it's all been done already and therefore it's kind of silly and naive on my part? or because if I associate her with my work then I'm paying homage and showing I've done my homework and know the world of performance art and persona?


do yoga, dance, garden, eat, have sex, create, run outdoors, sweat, hug, chat, exchange ideas, use your hands, immerse your body in large bodies of water as often as possible, read, write, enjoy. we're all gonna die.

Creative Plan Final

Below is a a link to my creative plan.

https://drive.google.com/a/maine.edu/file/d/0B3qPW2y6ZXWCczI0RTZKUjlRTk0/view?usp=sharing

Inspiration Comes from Notes

the lcock is ticking death is coming

sounds of my hand clapping, feet, stomping, 

marching to death

using the fan to fan myself because I’m heating up close to death

inspiration comes from water shower, floating, in the wter,  

watertickling down my face, warm heat, the view of the ocean

music listening

reading

looking at magazines

my audience

early in the morning or late at night when I’m tired or delirious

drinking wine and dancing

i’m always open to inspiration

being overly tired

sources of inspiration come from feelings inside us the worldview we might have

external political situation science

mistake the feminine romance for the feminine pipilotti rist yearning and despair

his internal is about imagineation coming up with your own imagination of how the body might be it’s your imaginative take the ideas  come from our creative mind.

creating false realities leverdiere

jan harrison creates her own myth becomes more internal.

internal -mind body spirit

work is responding to other work that has been done cultural activity playing with emotion, responds to the history art.

vinecharcoal thinner than pencil. like writing with styrofoam. firmer charcoal.

paul sharetts word movie  acrostic poetry john cage

a new self that he has created acting like a shaman mud man

you are not limited biography you can invent your own. kim loses his own personal identity and becomes more of a concept by wearing his mask. he is his own means of his production. he is surrounded by his concepts literally.

mona simpson- you are not obligated to express your attitude in art. ei. call waiting. you can fill in with your own cultural background or preconceptions of what you think it should be.

nan goldin gettting to the real person. so engrossed in people’s personal lives. 

she originally just put her pictures together to show her friends in a slideshow.

she was living it. beyond candid. documentation of sexuality drug abuse violence.

adam relation to maya deren meshes in the afternoon

WHo is my audience

if i’m performing then my audience would be somone who wants to be taken into someone else’s world perhaps the theatre goer.

if I look at, for example the piece I might want to perform, myself dancing flamenco inspired interpretative dance piece expressing all my laments on ageing, the clock ticking and death knocking, then I would hope my audience would be people that are mature over 30 and more in touch with their mortality.

I would also think my audience might be the same people that go to alternative spaces like the kitchen, galapagos, even moma or ps1.

I would be most comfortable though recording myself doing the piece with images on me and then editing it and reprojecting the piece extremely large in a small room with all four walls covered in the video. my audience would stand and watch me contort, shiver, stomp, and overanalyze my situation. My audience would be on the same horizon plane as myself. It would be as if they could reach out and grab my hand. It’s as if they were watching me right in front of them.

I guess I would be one for some so that there would be more intimacy to the piece meaning people experience it and then move onto another space. THey don’t stay for long just for a few minutes. They feel me and then they leave.

My constituency would be open minded, any nationality, humor, sarcasm and truth (almodovar)

explicit and obscured

tapping into something universal

i’m usually trying to enlighten.

condescending, trying to fool them into surrendering and then questioning

i want them to feel empathy.

obscured meaning with the lament death.

question why it’s happening.

practice performance, video, photography, installation, dimensional

henry hyde the gift & the trickster makes this world read this

there is this figure all cultures have this character that is the focal point for change

some artists choose to take on.

or am I peirot or pagliacci 

In the making Preface

Notes
Contemporary Artists have a limitless amount of artistic freedom.
Before you had guilds who regulated and controlled everything even the tools you used.
Anything sold by the guild was of the highest standards and buyers did not need have to worry if they were getting a fair price because everything was regulated.
without the guild competition increases but the aritist is free to make and sell their work as they see fit.
With the guild gone the art market grew included the purchasing power of the middle class.
But the buyers
Went from inflexible to inclusive of more than one standard to judge worthiness of art.
Artists once free from the guild found themselves without steady commissions and had to create spec work. Non conformity was highly rated yet many artists died in obscurity. A great divide between the successful artist and the unsuccessful artist ensued.
The market creates the need for a curator,  a gallery space

SCOPING AN AUDIENCE

last creative response

art as protest

Is protesting part of relational art? Does it become art the sound of clanging pots  by a group gathered or dispersed across a swath of space? I don't know but I do know that although free Cubans were clanging pots at the news of Fidel's death in Miami, the Cubans on the island were nowhere to be seen or heard clanging pots in celebration of his death. Was the media controlling this by not broadcasting the protests or did they not happen because Cubans still fear being detained, jailed or harassed by their neighbors for not being a true patriot?
My creative response is both graphic (which is how propaganda spread throughout Cuba and many other countries) and painterly (what WAS Cuba before the revolution). A woman looks out to the ocean away from her island hoping for a better future. another swims in a pot that barely fits her body. THe warm water will eventually kill  her spirit, her voice,  and her self.  THe irony of liberty or death is that they are not free but and dead by their lack of a voice and choice to speak freely and clang their pots in protest.

Creative Response to readings: quotidian/ritual/getting closer to deathearth

creative response 11:22 quotidien:ritual:art:420 from vvaldes on Vimeo.

Dewey

Dewey art as a human behavior

ethology |ēˈTHäləjēeˈTHäləjē|

noun

the science of animal behavior.

• the study of human behavior and social organization from a biological perspective.

Dewey part 2 art viewed ethologically

definitions of art, if one desires them at all, must be either injunctive(an authoritative warning or order) or open-textured(the inability of certain concepts to be fully or precisely defined or of regulations to be exhaustive and leave no room for interpretation.)

the essential premise that art is a behavior that is the handiwork of biological evolution.

Arts origin traced to one source: to play, to body ornamentation, to a configurative urge, a creative or expressive impulse, sympathetic magic, relief from boredom or to motives of self glorification.

These factors are partial and thus inadequate as well.

wide variety of artistic and aesthetic conceptions throughout primitive societes. for some is very important, others not. Art may service of communal end or perdormed as a personal expression of feeling. Art bjects may be looked at or discarded, sacred in themselve or their value resides in supernatural powers they embody. Value novelty, tradition. Depiction abstract or representational. Artist admired or regarded as deviant or inferior. Art comes from a spcial or divine realm or widespread.

Western notion of art is not clear or unfirom. Art may be viewed variously as artifice, fantasy, creativity, form or order, heightened existence, disorder, sense, revelation, adornment, self expression,significane or meaning. Art is concerned with all thes things but when examined from ehtological standpoint, the concept art tends to evaporate. All of the aspects above can be subsumed under psychological or biological need or propensity. the well studied bahvior of play covers all nonutilitarian making - fantasy, illusion, make believe, ornamenting,

exploratory and curiosity behavior- innovation, creativity, also called problem solving behavior.

sensory experiences - examples of perception.

cognition is perceiving or imposing order.

Heightened existence is frequently sought and obtained in experiences not known as artistic or aesthetic - orgasm, exercise of power, achieved ambition, sporting events, catastrophes, carnival rides, even childbirth. 

revelation and sense of significance components of religious experience.

so then what is it that is different about artistic play, artistic order, artistic perception, artistic significance. What is artistic about art.

IDENTIFYING a behavior of Art - in human evoltion the root proclivity is the ability to recognize or confer “specialness”, a level or order different from the everyday.

One renders something special, recognizes that it is extraordinary.

characteristic of art referred as transformation, aesthetic trasnposition or promotion.

pg 4 .identifiying a behavior of art

 artistic expression to an idea, decorating, or recognizing an idea or object to be artistic, you give a specialness that without one’s activity or regard it would not have.BY rendering it special you give tht e characterictic of transformation, promotion.jump from the quotidian reality (vital needs and activities occur, to a different order, an aesthetic order which has its own kind of motivation or intentio and a distinctive attitude or response.

2 root proclivities Play and Ritual.- both use make believe, illusion and metaphor,no primary end concernfor survival. performed for its own sake

as behaviros unpredictable, making use of novelty , surpisingness, complexity, change, variety, they have an inherent dynamic of tension and release, arousal and relief, devitaiton and recurrence or restatement.

As behaviors ritual and art similar- formalize and shape emotion, communicate in a symbolic language, for expressive effect make use of out of context elements, of exaggeration and of repitiion.

my creative reponse: Ritual concerned with another level or realm from the ordinary. art is used by ritual as a means to the end of revealing this special extraordinary reality.

art and play art and ritual in human evoluationary history they were once closely related and possibly indistinguishanble.

proclivity of making special took distinct currents: play, ritual and art.

artistic behavior shapes and or embellishes everyday reality with the intention of construction or manifesting (or recognizing) what is considered to be another “level” from quotidian practical life.

Life takes on an aesthetic quality.

ritual expressing embodiment special 

switch 

alternative reality consciousness- nativer response to the original sansih ships. 

so much information seeing and not seeing

realization for people who want to be creative not being locked into what we know.

bizarre from the natural.

Western world we usually insistt that there be an added aesthetic regard- that the work of art be experience not only as it has been translated into another plane, set apart from the everyday world, but by an awareness and acknowledgement of the way in which this has been done. a tale is a good tale but it is all well told

Appreciationg “how” the way something is done, demands a cognitive awareness - a more or less self conscious discriminating, relating , recognizing and following manipulations within an acquired code.

IV the value of art

art is necessary that it makes a qualitative difference to human life.

human emotion _ art as a fundamental way of experiencing everyday life. understand and become physically engaged.

what the producer does - the subjects experience interracts with impulsions. rhythm incorporated into the external object experienced is aesthetic perception not mere regularity. not what is contributed by the self.

rhythm complete consumnatory experience. the tick tock theory consistant variation is as important to order.

tom tom theory repetation of beats - variation comes

misunderstanding of tribal music - rhythm occurs in singing and dance. tribal rhythms are more complex.

Major proponent in the mid 20th century using music harmony rythm to understand what art does.

kandinsky through analogy 

every work of art uses a medium associated with different organs. 

don’t look at technique. don’t seperate means from ends. transform material into medium

artist transformational process material that communicates between themselves and their audience to do that you can not seperate between means and ends.

don’t put too much emphasis on either side. artist takes and transforms something into meaning. something that is shared between the viewer and the producer.

Ellen Dissanayake - Art as a human behavior

Art as human behavior, behavior like anatomy and physiology has been shaped by natural selection. aesthetics traditionally concerned with the nature, origin, and value of art, not as an abstraction, but as a universal and intrinsic human behavioral endowment. 

1. ehtology and art

what living creatures do in their normal everyday existence. universal behavioral phenomena and tendencies such as courtship and mating, territorial maintenance, communicatory behavior.

behavioral features or tendencies in man’s life are instrinsic, unchanging, and kept because they contribute positively to his evolutionary success his survival as a species.

collect and compare examples of universal human behaviors from many societies.

certain features of behavior

maintain social heirarchy.use ritualized nonverbal communicatory signals. All human children play. universal patterns and sequences in courtship and mating practices, mother infant association, 

individual zone of phsyical distance from others is maintained and relaxed with certain intimates or in certain situations.

meaning is aesthetic ordinary life takes on a more significant reality.

are we unique in giving meaning  or creating aesthetic

it is about giving coherence to everyday existence. 

notes

owen november 18

a world view i want to embrace. mission to reach a higher sttate humnaity becoming more honorable

hopeful creators

learning is good

technology, non technology, super you, death. key four or five words. time 

think about community of like minded people, community of others

I just think i have the 

I think the ideas are linked -your making work about the female gaze

the aging female body and notions of femininity and selfhood.

The scarfs also represent femininity but flying in the wind shows their potential for freedom or that they can choke you.

I think the photos of you are the strongest because it is you playing these roles

you don't need the young girls to represent you. I think the collage of all the women

playing roles is nice but try focusing the portfolio mostly on the personal work (self-portraits)

In all the work its exploring the self, freedom, aging, existence, " I could've been a contender"

and "getting to pretty" are two bodies of work in a series in which your exploring the american

female as she ages and under the gaze of consumer society. I think that could be your focus

of your writing

self portraiture and mixed media methodologies 

reconstructing oneself

reimagingin the past

analog and digital convergence mixing graphic design commercial work with photography, video, animation, screenprinting, typography, audio, performance, installation, recording artists for my pieces, live work

the immersed body the exaltation of life religion captures these moments when singing your lungs out in church,smelling the incense, 

the ecstacy the rapture of your life

Where handcraft takes precedent allowing one the quiet time away from the screen to enjoy the process of making thoughtful decisions that are fluid and help the work unfold in a more personal manner.

i would like to create bodies of photographic work that are also moving slowly in time across screens as if they were digital paintings adding audio layering and textures throughout.

shift my focus from activisim to speculation about our relationship with the outside world strictly beyond the gadgets we hold in our hands. We are never outside but always inside figuratively and literally. To escape to the woods, the brook, and let myself become immersed in my natural environment gets harder everyday . Instead of searching through the woods I’m searching on the internet for something or other, looking at someone’s videos, pictures instead of participating. I left NYC specifically for a greener pasture. I have 20 acres of land with a brook and trails and yet I find my days behind the computer looking out the window at the tops of the trees and mountains unnable to reach them, touch them, smell them, even though they are right there at my disposal. Nothing is stopping me. I would somehow like to focus my work on the outside as a participant interacting and using the natural world in a way that reinvigorates the individual. 

Getting to pretty again and I could have been a contender both deal essentially with the same issue in the end: time and what we have left and how we want to be seen, what imprint we want to make. We want to be beautiful, young, alive and great until the end.   To be more than what you are, thinking you can beat this age death trap.

the issue of beauty very aesthetic  

the relationship between artist, audience 

between high art and pop culture

the idea of relevance, remembrance, marking a spot in existence, saying nothing in the clamor of morons trying to be somebody, to be a star.

I find dI’m always wanting to perform talk, sing, dance, act etc.. I find the most joy doing these three things. Therefore I will be a contender in the performance piece of my own life. 

diaric form of video your life is a stage is aperformance is so importatnt you need to write it down, 

goes back to the you are important 

i would like to explore myself as the object of analysis.

the performance of my life fact vs fiction. recording myself mastering a flamenco dance piece in spain. using song my singing throughout my images and videos. performing on stage, interactive performance with others. maybe I teach them something. talking to myself non stop, trapped inside myself not caring about the outside world. in a glass box.

My work continues to explore and  unmask our untruths and tear down our walls of illusion and perception. 

I want to take it further and immerse viewers in a world that can be healing, elating, a new religion that steps outside and moves you back to the earth to reunite, reignite your life outside the confines we’ve created for ourselves.

conjoin sound with image

urge to document my life or others in my disguise

Creative Response to Eleanor Antin at Portrait Gallery in D.C.

Interview with my 6 year old niece, Marisol, in her home.

What do you want to be when you grow up and why?
Marisol- A ballerina - I like dancing. I want to be in Cinderella Ballet. Ballet is on your toes; soft delicate. A flamenco dancer - I want to be in a show of flamenco one day. strong passionate
A vet .  I like animals and take care of animals because they are so cute. A photographer  because I like nature and fashion. A reporter - like my american girl. An astronaut - explore other planets and other things that live on other planets. An actress that's dramatic. A singer -opera. A gardener - like planting things like flowers because they look pretty and smell good. I want to see how it grows. A teacher to teach how birds fly.

VV- do you also want to be a model?

Marisol - Yes!

What does this mean? Why is it important? Where do these ideas come from? Which ones are genuine? All these responses came from her previous experiences; seeing Cinderella on stage, seeing flamenco in Spain and now taking classes with a Spanish Flamenco Dancer in D.C. She is also taking ballet classes. Her father is the VP for NPR's "all things considered" and was the producer of the show for many years until about 2 years ago when he changed ranks. It's interesting how we develop and shape who we are early on by trying on different roles to see what fits. HOw will her surroundings shape who she chooses to be, how she chooses to be.

Eleanor Antin constructs characters that are not real. She is acting, role playing. Her characters though are not simple especially when she changes her race.
Notes: aesthetic experience - conscious feeling at being intensely alive
cherish the child as the great imaginer.
a child doesn't play a prescribed role and identify herself completely with that role as an adult does.

I decided to have her dress up in her favorite ballet outfit she wore from one of her past performances to photograph and videotape her as my creative response to Eleanor Antin .






based on eleanor antin viewing at portrait gallery in d.c.

creative response to mission statement

garlicplantingsmall from vvaldes on Vimeo.

my creative response to the mission statement. show the joy of growing food, communing with nature, eating healthy, being physical, having your hands in the soil, being able to teach others on how to do good things for themselves and for the earth. become who you look up to. engage completely. be the change you seek.

can strengthen immune function

garlic eating it’s good for you video , healing cuts on your skin, 

start listing all the things that are good for you when eating garlic

over informed

reduce inflamation, prevent infection

skin-protective polyphenols.

antiseptic tightening pores minimize pores

garlic helps in increasing blood circulation in the scalp which in turn reduces hair fall and helps in stimulating hair growth. Garlic also has anti-bacterial and anti-fungal properties that help in treating dandruff and itchy scalp. 

Garlic contains a sulfuric enzyme known as allicin that blocks the pathogens and plays an important role in fighti

the mission that motivates artists to make art

inspire faith in god

celebrate the wonders of nature.

I think we still do that in one way or another.

I cook, dance, teach, sell, perform i do these without submitting to the standards of functionality.

Imagination fantasy metaphor and symbol are not suppressed in art making but are welcome but in employment they might be (not sure if I agree with this statement).

Artists don’t have to be accurate- they can exagerrate, distort, ignore, and embellish.

Artists can disregard professional protocol. they don’t need to request permission to speak or act.

As a result functionality, accuracy can be warped without compromising artistic merit

Missions to instigate change

Artists can advocate or oppose any topic.

It can aim at self-fullfilment or generosity

Scope can involge a region or the globe

Missions can revert time, stop time,slow time, expand the moment, 

artists practice without needing credentials

they can comment without peer review

they can introduce original solutions, direct future developments, revive neglected precedents. 

Artist not beholden accuracy or politeness.

Artistic missions could be prolonged investigations. conscious design,it can be pursued through mindless abandonment to impulse. 

mission- dedication, long term commitment, seriousness of prupose,

artist spontaneity is often predicated on the desire to release suppressed memories, meotions or mythin visions.

Why have I chosen this profession. 

VIewing art guessing game or studied activity. visual clues often not enough to reveal why work was made. 

Viewers assert the right to indulge in personal interpretation of the artist without worrying aout accuracy and politeness.

kant - the newminal world of abstract ideas things you can’t see feel or touch. what they sense instead of make

romantic - visionary genious - arts for arts sake - art is valuable in and of itself

doesn’t have to tell us something.

art doesn’t do anything

we’ve lost the train of thought as art having some causal significance

mission should have some aim that we want to realize 

my original and still relevant  mission statement

In my work I find myself returning to a nostalgic place with lament longing for an older place that never existed but is solely conjured up by desires and ideals of the perfect life, the perfect being, the perfect lie. My work as a whole continues to deal with illusions, the denial of lived experiences, and the rift man creates with his natural environment. what is my attitude towards these. Having worked in the commercial world as an Art Director and Designer for major entertainment corporations I’m aware of the strategies of commercial media masked in pop industrial code and in turn manipulate and comment on those codes as a cultural form for re-evaluating the contemporary self-contained state of art. Overlapping art and design, the slickness of advertising and signage devices are used to monopolize the viewer’s senses and distort their perception of reality between high art and pop culture. 

ATTITUDE: concerned with how people are so disconnected that they are believers in finding the answers and the super you

mildly critical, 

my personal position in relationship to your subjects and what you hope to communicate

get people to understand the world in a different way. what are the means that I do it.

how do you express the attitude in your art.

attitude is what causes work to express.

where do i stand in relation to this work that i do.

aitititude can be overarching or have a speicific attitude to one piece. we want to think about the broad sprectrum.

it’s about relations the dynamic relation

attitiude- critical and interested 

point of view 

my mission is to magnify our disconnect with nature and ourselves and need to disengage from the gadget that keeps us connected to numbing our senses. turn things on it’s head. Get people to understand the world in a different way.

choosing a mission and measuring success

use myself and others to represent a collective conscious of which I believe to be faulty.

My mission is almost always to wake people up, stir shit up, and agitate by  teasing and lamenting.

Mission is to make others aware of our purpose and existence and how time is sucked out of our lives by technology. 

how do I measure success. when people are engaged in my work and find empathy with the characters the situations the environment.

My idea of success is having shows or am invited to creating installations works or be a part of a collective body of work to be broadcast. I would like to measure success by not having to work as a teacher anymore and solely like Wenda Gu work on my art and be able to afford to hire others that I can manage and set up, light, dress, location scout, shoot my vision of a world of overmental stimulation.

Success is measured for me by respect, admiration, sharing, laughing, and taking the time to look and let yourself be taken by my work.

mission to success communicate something that will effect people

talk about your work that is going to benefit

ousler says larger issues that he is trying explore “models for new consciousness”

i like that he says you have to create a space for yourself where you can breathe. THis is what is lacking in our society as a whole, space to breathe to ponder, to mull over something, to get deep.

“that’s where I’m working, trying to make machines that coax the viewer into engaging with the transformation.”

the danger of the projected image.

“sure I search the media for evidence of the eveolving collective unconscious. it’s like going to an electronic prison. It’s not a pleasant job”.

how the audience is affeced y a round the clock stream of electromagnetic waves bearing sex and violence.

create empathy time we spend on something 

severed heads and people making noisees and pain.

in my thinking I think of how we look to computers, the internet, google, wikipedia, blogs for the answers. how we search and become voyeurs instead of makers doers. how we are consumed with consuming visual data. How we are happy living in the virtual and not confronting one another and our natural surroundings more. 

my mission - looking at things from a different perspective. while everyone sleeps. what we take for granted.

corporate -  mission to make your life better. not very sincere.

general mission if your missio is too broad not much to hod onto not much to drive your work

to create work that amplifies these issues of isolation to reach people who question how our comfort is slowly degrading our true being and making us a collective of mind numbing moving blobs. 

using the internet to free me from traditional distribution methods so as to reach a larger audience.

using the internet to amplify my personas through chicanery and truth.

my mission is to show people how to plant garlic and watch me perform doing that because then you will want to do it too.

life as art. no computers involved. the beauty of art.

artist as guinea pig. use yourself as a way to engage in an issue. student who created a meth lab. as mfa tinal project.

my mission as an artist is fullfill the human desire for perfection not by taking on avatars but by existing in the world  by experimenting, immersing yourself without the constraints that the media and technology can impose on you by means of distraction and mind numbing stimulation. My concerns lie in the super you syndrome or the overreaching of one’s self due to the mass amounts of infomration we are receiving while sitting back and not participating fully completely in the world. The art of living immersion and the difference between illusion and reality. At the same time I’m looking for a form of expression that moves beyond what is considered normal appropriate behavior conforming. 

my creative response to the mission statement. show the joy of growing food, communing with nature, eating healthy, being physical, having your hands in the soil, being able to teach others on how to do good things for themselves and for the earth. become who you look up to. engage completely. be the change you seek.

write one sentence with one clause only and then write a paragraph long that further explains.

technology, non technology, super you, death. key four or five words. time 

think about community of like minded people, community of others

I just think i have the answers

NOtes on art is dead write Kuspit interview

Their work (Hirst and Warhol) suggests the cheapness of human life and the dumbness of art, while van Gogh’s suggests the preciousness of life and art’s empathic engagement with it. Is it possible that when

crafting the artistic self and artist's attitude & notes from class 11/1/16

constructing myself

fictitous exagerated dreamed not here observing our culture reacting with play acting

What trait do I wish to become known by?

The hysterical female the sexy stereotype the cynic

female, spanish, video artist, pop culture sentiment, sarcastic

of the moment, in the know, trendsetter

feminist

artistic attitude

atitiudinal position in relation to my subject

does the work strike an emotional chord influence opinion and generate response. 

i explore the attitude of the over consumed individual and the narcistic tendencies of the self by 

beauty is here now in the present not in what you do, how you look, what you believe, what you percieve but how you experience and move through life.

ever over consumed.

attitude is towards the self and it’s purpose for living and it’s relationship with death.

controlling everything even your departure. attitude is to poke fun and not take ourselves to seriously but to rather immerse oneself in the natural environment.using the body to take in life as if on mda everyday.

higher power higher life. religous exultation, orgasmic, laughing, running, jumping outside yourself.

biography

what is that attitutde towards

self in the other self 

youth, life, 

what is it for me.

conflict as expressive

exhuberatnly extrovert

flamenco dancing is expressive 

hyper kinetic

express the physical

ana mendietta

dear of retaliation safety

secretive

make up a self

sensitiv

how do we take advocacy using ourself. but it’s not about me.

my biograohy

where do you exist in your background

transcending your background and becoming someone else

going on to create e new self

eiptomize yourself

artistic self - one stated belief that the limitations of creativity that is often a given that the creative production of work is always limited to speaking to by and about yourself. that is a fallacy

we will never escape who we are but we can choose to be someone else  as well.speak about ourselves epitomize ourselves draw from our past

transcend 

artistic voice comes from someone else an alter ego.

outing gender bias in our culture and society

manipulating and choosing. someone other than what you set your life to be 

one’s biography is irrelevent to the work

where do you and your biography relate and function in your work

attitude

next week choosing a mission and measuring success. come with your take on yourself about attitiude and secondly read and response to choosing a mission and measuring success.

Weintraub’s artistic attitude

areas of attitude use weintraub’s as a checklist

attitude that you can change anything attitude that your are super

that you are in charge

after believing and not believing we believe in our power

3 attitudes 

an attitude to what they do and an attitude expressed through what they do, and the attittude with the public.

what is the position 

we are different from news reporters and educational systems. somewhat neutral.

presenting points of view idea, philosophies,

Creative Response #4

fuck you I’m not ready to die and other lamentations

all about fighting death and doing whatever the fuck you want

fashionable way to die

things to prepare before you die

will

tombstone

party

dress

obutuary

epitaph

eulogy

music

have people write my obit

thesis

a great way to die

the best funeral anyone ever had

remembering who you were the best parts (video screen)

advertising

screenprinting

painting

the notion of immortality

being who you want to be before you die

you get one wish and all the medical prosthetics needed to fullfill it in your life time and then you must die.

Creative Response

Dime is a song I absolutely love and would love to sing with a guitar player. My creative response is an homage to spanish subtitled films, Almodovar, soaps and the universal laments of love gone sour. In a kareokyish way, I purposely kept the original track resurfacing in the back so one can hear the flamenco guitar to carry my singing and give it some structure. I created the piece recording myself in Garage Band at home and then created the rolling text movie in After Effects. I brought both the after effects movie and the track into Premiere and exported it out at low resolution movie in order to post it here on the blog.

class notes

ridged 10 inches wide loom

shirin neshat uses her culture to express many things in her art

she is a video artist film maker uses music made for her videos

she doesn’t make any judgements

are you motivated inspired by your emotional feelings, external political events, ocial concerns

by assuming extravagant 

how do we engage in a project sit in a room quietly and think.

i can liberate myself like an actor

bohemia carnegie hall

each hour wether devoted to art  is a source of inspiration

kind of like a historical fiction but you imagine all the details

use things that really happen and then turn it into something else.

the human condition

putting a layer of meaning.

letchernoble dark horse 

you gain a commonality with your audience when you use your expriences but in a fictional way

scott cregor - cut and dry political inspiration, comparisons, swoosh sticker

effecting their heart or emotion not their logical self.

what’s going to happen to the children. 

dated art -

if you are making choices in the creative process to make more the work more effective now than worry about what people will think about it 100 years from now.

owen rollins and gilray collects cartoons from the english. even if you don’t undertand what’s going on you can still get it, even if they were making a political commentary of the time.

where is the source? is it in your heart,emotions or the newspaper article I wrote

finding for you what sort of 

things in the world is where I draw my inspiration from

or you think about things or come up with some sort of expression

turn inward

where you do start what triggers something.

for next week where is your source of inspiration. where does your curiosity come alive.

50s, nostaligia, 

case studies that help you think about your own source of practice.

do you have a mission 

who do I want to communicate with right now

everyday life as art should come from your life 

sharing things that are very personal but because she’s one of them she’s not taking advantage subject.

hsrb human subjects review board -  research is left you are not going to harm people or do  anything

people who are working in the social sciences. blending into the human

lynnen hershman used herself living an identity as a young person and document that life to a decree self ethnogrophy. she would put a personal ad in the paper and then  covers faces.

the accountant

use my field recordings both visually and aurally

steve - alto soporanino soprano and barritone sax, alto bass contra alto clarinet.

for next  week go do your own version about self and inspiration paragraph to a page what is your crafted artistic self and your source of inspiration

artistic attitude read and creatively respond.

theories and histories

book cover project idea possibility

What if I cut out the center of the books and placed objects inside them like some dirty cigarette butts and a small liquot bottle along with some shake your booty music to detox?
I could do this for all the books.
Right now I only still have about 5 book covers I'm happy with. But that might be enough to put stuff inside and make them a bit sculptural?
Or there could be mini video players inside the book.

Thoughts on I could have been a contender

I am planning to take my advanced students to 2 different nursing homes in the area. One is a VA home and the other one is just a general nursing home. I want them to do either photography or illustration along with audio and writing to create portraits from stories they have been told.
Thinking further on this idea, I thought I might ask some of the residents about what they had thought of becoming at one point in their life and never happened.
So far when I talk to anyone about my project I could have been a contender I find people have stories to tell me about how they thought about doing something else with their life and couldn't make it happen for a variety of reasons sometimes outside of their control and sometimes out of fear, circumstance, oppression, marriage, children, other responsibilities, lack of funds, resources, and courage.
Then I thought about all the aged women in the homes and wondered what they think about the rights and privileges women have now, as opposed to when they were young. So much has changed in fifty years that it makes me think some of these women in the homes might have unfulfilled dreams just because of the time they were born in. I thought wouldn't it be interesting to try and capture these women on camera showing me the contender they could have been or the story behind why it never happened. Somehow I am sad thinking about it. Perhaps my thoughts go back as always to my mother and how she was short changed.

Flamenco Dance workshop with Miguel Vargas this weekend and why my MFA should be all about the contender, the super you, ageing, and finding grace before death.

My feet are throbbing. My mind has stopped remembering. Pain is not a good tool for remembering choreography. At least I don't feel so bad as most of the women I spoke with told me or someone else their body specifically their feet felt as if they were broken. It was military bootcamp flamenco.
I was only able to record audio yesterday but am hoping to get the audio from saturday's class so I can hear the pain he caused us. I'm not saying I didn't thoroughly enjoy the workshop but Mr. Vargas treated us as if we were dancers in his professional flamenco dance company. The beginners class was more of an intermediate class and the intermediate class was advanced. I expected as much from my past experiences that is why I took both classes. The intermediate class we learned some choreography for Tangos, and the advanced class we learned choreography for a solea dance.
It's unfortunate he wouldn't let us videotape the class as that is the best way to review what you learned and refresh your memory. My girlfriend Deb said she was going to try and tape herself redoing the pieces to try and remember. I have some audio that I can refer to.
It doesn't completely matter as you would not necessarily take exactly what the teacher taught you and use it because that would be stealing. You take ideas, notions, movements, small routines and make them your own and fit them to your strengths and weaknesses. All this was confirmed by other dancers which made me feel like I wasn't a loser. They all do the same thing.
I really need to go to Spain for a couple of months and just practice and learn from the masters everyday. You can practice at home your footwork but it's not like practicing guitar at home. You need the singer and/or the flamenco guitar along with a good teacher who has perfect compas so that you don't go astray going too fast or out of rhythm.
I started thinking about the purpose of my MFA (outside of doing new work, making a little more money, and possibly teaching post secondary) and I want a lot out of it.

To create work that is meaningful to me and make others think, cry, laugh, and mainly feel something that they couldn't have reached without my piece.

I have to let go. I am still fearful of what others will say. I don't like to see myself fuck up.

At the flamenco workshop I did find that I progressed by concentrating hard and giving it my all in feeling, and not caring who was watching. I couldn't get the footwork down (as my feet need some serious retraining and perhaps rejuvenating treatments) but the sentiment and feeling were there which is what most important. I  have Duende, I just need better muscle memory and a stronger body.

I spoke with Miguel about going to sevilla and taking singing and dancing lessons, and he told me they do offer intensives in the summer. So I might be going there this summer.

class notes

owen class october 18, 20

tonight ellen wieske

tomorrow wednesday

talk to gene about for wednesday class skype

user her as a resource laura splan will be upstaris in her presentation space.

workshop series join. 

talk to jean at 6pm

large format printer high def  - cml back of the library.

secret work- audience partial reflection of themselves

value secrets audience on a personal level

how do you relate to the audience if it’s all then you want some kind of connection relationship that is more open armed then confrontive.

where does the secret lie -alter ego, not to explain it all,  something you want to protect, you have a key a password a lock. protecting art by not explaining explicitly, not neccessarily about you.

crafting the artistic self. nan goldin taking pictures of herself in life just documenting her life.

documenting take on a voice that people don’t have a voice for 

secret- if we’re trying to create a group of people to be our audience, do things that are visually interesting, use subjects they might be interested, create something that is mysterious that you want to get to know about, you are one of the people that is one in the in group.

maybe if you have secrets is a way of building community.

ways that we identiy ourselves people in my neighborhood, church members, use the aspect of identification of including peple and getting them want to be a part of what you’re working on.

secret society

obscured meaning - using religion to understand those stories. job can be interpreted many ways

god is a toturer, 

notion of parables and fables up front saying one thing and then multiple interpretations.

obscured message you are not alone. sneeky sort of things stuck in there.

away from abstraction explicit meaning like symbolism for people in the know people who ar enot in the no want them to have access she likes thoroughly explained. courage to question your own convictions courage is being not terrified. 

she

inspiration comes from water shower, floating, in the wter,

watertickling down my face, warm heat, the view of the ocean

music listening

reading

looking at magazines

my audience

early in te morning or late at night when I’m tired or delirious

drinking wine and dancing

i’m always open to inspiration

being overly tired

sources of inspiration come from feelings inside us the worldview we might have

external political situation science

mistake the feminine romance of the feminine pipilotti rist yearning and despair

his internal is about imagineation coming up with your own imagination of how the body might be it’s your imaginative take the ideas  come from our creative mind.

creating false relaties leverdiere

jan harrison creates her own myth becomes more internal.

internal -mind body spirit

work is responding to other work that has been done cultural activity playing with emotion, responds to the history art.

vinecharcoal thinner than pencil. like writing with styrofoam. firmer charcoal.

paul sharetts word movie  acrostic poetry john cage

a new self that he has created acting like a shaman mud man

you are not limited biography you can invent your own. kim loses his own personal identity and becomes more of a concept by wearing his mask. he is his own means of his production. he is surrounded by his concepts literally.

mona simpson- you are not obligated to express your attitude in art. ei. call waiting. you can fill in with your own cultural background or preconceptions of what you think it should be.

nan goldin gettting to the real person. so engrossed in people’s personal lives. 

she originally just put her pictures together to show her friends in a slideshow.

she was living it. beyond candid. documentation of sexuality drug abuse violence.

adam relation to maya deren meshes in the afternoon

annoying  

why isn’t there communication

Projection mapping problems

Spoke with Gene about my idea of projecting images onto my dress as I dance or pose and he said it would be quite difficult.I would probably need someone to man my computer working live with millumen or modulate to sync the masking and mapping to my outfit while I move so that the image doesn't show up somewhere else. I did mention that I wanted to have background projection simultaneously and he thought that should work to cover up the possible bleeds.
Just have to try it and see. When, is the question, as I still haven't done the videos. Have only been researching.
Thinking I will have images go to black so I can change my position and then they appear again.

FLamenco Dancer

Thoughts
Images projected on dress would be ageing, death, religion, war, and lots of black and white and pop color geometric shapes in between.
I bought some fake flowers today and ripped them apart to glue on a barrette for my hair.
The past fiew days I've been recording myself singing only the babeos of flamenco songs and I pretty much suck. I'm only really good when I'm in the shower or after I've had a few glasses of wine and I'm loose in the throat and my thoughts become more fluid, less erratic.
Not sure of sound for piece. Maybe it will only be percussion like a metronome
http://ravennaflamenco.com/metronomes/buleria
where I will make different flamenco poses while images rapid fire project onto my outfit.


http://www.compas-flamenco.com/en/palos.html

I could have been a contender Flamenco Dancer

Ha ha ha ha
I just did a photo shoot with my one and only flamenco outfit, attempting to pose like famous flamenco dancers thinking it would be relatively simple. Little did I forget that if you don't stretch and dance everyday your body just can't do what you want without some pain. I feel as if I've worked out and pulled some muscles solely from holding these positions.
My thinking for these photos is to  that I will hold these poses in a performance and project images/video onto my fan and outfit.
But then there were some pictures of me that I thought would be good for a bookcover, an album, and of course the poster of myself as a flamenco dancer.

I'm trying to decide if I should work with after effects and create videos or use adobe animate instead and if I should use video footage or illustrator graphics I've created and taped to project onto my white flamenco dress.

5th creative response

5thcreativeresponse480 from vvaldes on Vimeo.

"Flamenco" dancers in Maine.

So lindsey bourassa has recieved some Maine Arts Commission money for her "flamenco" inspired work and I thought I should go see her latest piece (about 4 minutes long) at the Maine Arts Conference in LA this past friday especially since my friend Deb Shekter (who was Lindsey's first Flamenco (American) teacher ) was doing palmas and a bit of footwork as accompaniment to her.
When I moved to Maine it was hard to find anyone who truly danced flamenco or had studied with anyone of any caliber. I found Deb Shekter and befriended her. I had seen Lyndsey perform and respected what she was doing with the Flamenco form taking on her own interpretations of it.
She is very graceful and delightful to watch especially since she is very thin and has long beautiful arms and hands.
I'm always taken by people who are smart enough to know their strengths and weaknesses and pull the best out of themselves in a given situation without seeming to hide their lack of other skills.
THat is how new art forms start sometimes.
I spoke with Lindsey and will try to meet with her again and maybe even collaborate, not sure though. I did find that she has taken on the flamenco spanish style well and even her appearance is authentic to the untrained viewer (especially Mainers and New Englanders). I am not being harsh. I truly did appreciate her form, posture and grace and can see that she truly wants to be a flamenco dancer but in a fusiony sort of way, which is great. If you look a the most famous contemporary flamenco artists in the spotlight they are expanding to interpretive, improvisational, pantomime, theatrical storytelling forms that don't have any direct connection to flamenco. They are however all classically trained and can do any palo without hesitation and at a level that is superior to everyone. They are powerhouses in flamenco dance. For example Olga Pericet, Rocio Molina, Marco FLores, Pastora Galvan. Israel Galvan

I'm not sure Lyndsey knows much about these artists but she does write well about her intentions, and references the ever famous poet and writer Garcia Lorca in her work to make her credible. I'm convinced the art of the package is of the first and most important factor an artist needs to master in order to get his work respected, viewed and listened to. You can't be a crazy mishmosh of talent without some order, coherence and articulation. You can't be in a bubble and not allow yourself to be judged. But you can be an amateur and package yourself to get attention and money.

And your audience is important right? So knowing who you are audience is and how they will respond is important. For example if Ms. Bourrassa was to try to do the same performance in NYC perhaps the feedback would be less welcoming and more critical.

much much searching for the perfect everything!

Today I spent my morning yet again researching batas de cola etsy, ebay, private sellers, abroad, home, etc... only to find the prices are quite high. Of course if I made it myself I could save money but even still it would be in the hundreds with some much fabric to buy (somewhere in the ballpark of 65 yards is needed), plus many many hours behind the sewing machine. Of course it's all grand to do but time seems to slip through my fingers and there never seems to be enough of it.
I have 2 wedding dresses I'm thinking of dismantling and upcycling them to a flamenco dress that I can use to dance that is not so fancy as a bata de cola but will still have ruffles and will work as a piece to have images projected upon. That is what I'm thinking to start with as an experiment. I just can't see myself using expensive hard to find fabric to make my first bata de cola.
On a different note but still part of this project, I spent a couple of hours sifting through my flamenco music and picking pieces that I could 1. sing myself, 2. dance to, 3. pull out all the arranques:
spontaneous outbursts of uncontrolled emotion that a performer may emit  and babeos: repeated meaningless sounds such as 'bababa' in the middle of words: also known as glosolalias:

here is an example of what I'm talking about.

I just wasted another 1.5 hours trying to extract the vocals of some flamenco songs using Audacity which is a piece of shit. Watched a few youtube videos where I wasted my time watching 2 morons who say "how to extract vocals using audacity" but actually don't do it. Complete and utter waste.
I was thinking I could sing the songs and keep the music but alas I probably need some expensive software and more time than I want to donate to this venture.

I know failure is a part of the process of creating but it seems for me that setbacks are more of the problem. Or perhaps lack of information or knowledge that is needed to complete the tasks at hand.

some songs I'm thinking I want to sing that are part of the I could have been a contender
https://www.youtube.com/watch?v=D0ohlAyDLU4   the first song.
https://www.youtube.com/watch?v=Ikvh2lcKdUI

here is my version of one of the songs I want to sing by lole and manuel. it's pretty choppy but I love this song and want to perform it.
https://vimeo.com/158103415

FLamenco dress

Just spent another 4 hours online looking at
how to transform thrift finds to fit your body,
finding manuals on the equipment the imrc has and reading it,
learning about the husqvarana machine and how it works,
 reading on how to properly create a digital design for embroidery purposes,
trying to find information on how to import a vector drawing I make in Illustrator into an embroidery application to sew,
searched for other forms of skirts I could use to dance flamenco and project images onto,
ordered a new white flamenco fan.

The more i work on this project, the more i realize I want to make every part of the flamenco dancer.
I'm obsessed with creating my own designs to both screenprint onto the fabric and to embroider.
I've spent countless hours looking at flamenco dress designs, shops sthat make them, visiting fabric stores to find similar fabrics, perusing thrift stores for dresses I could alter and fabric I could use.'
Yesterday I went to walmart and bought fake flowers on stems and a barrette to make myself a flower head piece.
After practicing different poses again and doing some footwork, I decided to put the white skirt the seamstress altered (which is way too big for me) on, add a shawl, a petticoat underneath it (which is too tight) a white simple cotton tshirt) until my white leotard body suit arrives which I ordered through Amazon a couple of days ago. Once I put the outfit on (which is temporary until i figure out exactly what I'm going to be wearing) i started imagining how the material could move for projecting onto.

I spent more time downloading vintage flamenco poster designs to incorporate myself into them and also to possibly use in the video projection part. I think I'd like to alter as many of them as possible with my likeness on them and print them out.

Why am I imposing myself onto everything? Why am I so obsessed with flamenco?

Downloaded several vintage photos of flamenco dancers adn troupes .
Spent time looking for poems or writings on death in spanish.
thought about screenprinting black dots onto fabric but the dots would be decaying, dripping, or fading out.

Notes October 4th

owens class october 4th

after the discussions of the examples and 

craft your own model (audience ask the same questions that lynda asks

who is your audience 1 for 1

how do you want to relate to your audience

remember the final project- artist statement

where i draw my inspirations come from

skip artist - interesting what is his practice is it the social interaction between  level of intimicay working with a single person which is your audience.

he is not abandoning his role as an artist but kind of modifying that.

his materials -  

working on site what are the materials at hand what do you do with that

many categories on environment art - land art, people who move lots of dirt around 

gestures in landscape - owen’s own words impertanent

marking by passage richard long he walked back and forth in a straight line made by walking

hamish would take photos and write about it

is there a difference between media (what we make poster, video) and how media shapes the viewers understanding.

By choice we are shaping how we choose

ad kernel there is a difference between the ultimate value that the things that is most important is how it is communicated no what you communicate

televsion had a different kind of power. 

rirkrit - relational art social practice- shift from object making to event making

borials 

cook meals for other artists the end of the meal  he would glue and shellac everything down in place

daniel sporrili

much rikrits work is about eating my childhood memories, cultural identity and present roles as house cook/chef/creator all relate to the creative process of making food, sharing it with others and creating a place for communal exchanges.

When I look back to my childhood in hingsight I realize my parents did not have a lot of money, were trying to be American and were in turn buying food products that were tasty, very american but completely unhealthy (which no one knew or cared to know about it at the time).

My fondest memories were from having fried spam with eggs, or sandwich made up of mayo and vienna slices sausages. Heaven is what I thought when I ate these foods as a young child.

I’ve created a collage of sorts highlighting the foods and drinks of the 70s that bought my parents and sisters together and made use smile.

from the 60s object to food

spoerri

60s fluxus performance on stage to parties

all food has to be black funny joking. 

if you’re going to reject art get rid of it all together abandon it on the stage and still have fun with your friends. just call it interesting not art

rikrit- not trying to get out of the art world he is trying to get back into the space. turns gallery into a kitchen a dining room. leaves you to question the use and misuse of what  gallery is intended for.

ritchie inside the map took the idea of the diagram and move it off the picture and into the space. it became free

take the drawing and move it into the real world. drawing became kind of like a living thing. an actual tangible object.  he prefers commercial technologies anything you can get out of the yellow pages is great.

reconstituting in something that contains itself. everything always changes everything is always different. turns this gambling game style to build paintings to random sequences

take this idea dichotomy between abstraction and realization

purely abstract forces only exist in the figurative stars wind dust

us and these strange forces that makes us challenge and pushing aginst.

what your limits of perception that holds you back self referring paintings

where are you what are you looking at.

operate in the world of your own making. 

hybrid that exists between mediums

the apace between a painting and a book is intermedia non defined exploration muck and about

historical tradition- more and more artsits are operating with a variety of medium in a body of work.

kincaide what does audience want

constituency one for some- a particular concern, a background, an ethnicty, a geographic reason.type of issues that you are dealing with.

I am one for some and give this some depth 100,000 or 4 the world and 1

how do we relate to the audience (emotion, universally, telling or reliving, disrupting assumptions, invoking laughter, elicitin secrets. once you’ve chosen your audience what is your relationship to your audience.

with your audience or against your audience confront or piss them off. nuanced or more focus

co traveller with your audience or someone who pushes or prods your audience. disrupting assumptions would be you’re not with the audience. jokes on us

3rd diferentiation in audience implicit and explicit the notion of obscured meaning would separate you more from the audience.

categories for audience relationship  to an audience. 

explicit can connect and confront an audience

creative explorations - you continue to think about these things

keep an idea book or sketch book

text and owen

craft my version of audience 1 page no more

creative response

and also talk about one of the artists

inspiration reading

owen’s initial idea wrote in his sketchbook 20 years ago his biennial piece that showed

keep track of your notes and idea but you don’t have the technical to do or just not developed yet.

gimmickery done well can elevate to art itself

kitschy bordering on the naive

originality - 

make art about art by using pop culture sensibilities

reaction to what is external

i got a lot of inspiration from reading and watching and experiencing.

what is wrong.

I usually don’t need to find anything I always just want to react.

 i then do a lot of research on it

 read the paper, music inspires, having conversations with my husband, somethine someone says. the role of the female, how we choose to live.

last two sections of the book to be read by next