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
