1.What are your political concerns? Is there anything happening in the world beyond your self, that still effects you directly? Does this come into your work?
Tyranical rule, loss of human rights, ingnorance leading policy...
Religious political policy influences my work indirectly
2.What insights should artists provide? Do you agree that poets(artists) are "uniquely suited" to "speak publicly and morally about human aspirations"? I
I don't think artists are any more or less suited to speak about these things. They just happen to have a more readily available soap box if they choose to use it.
3. What does it mean to be politically active?
It means to have an impact on dialogue and influence public policy
4.Are you able to relate to the work that I've made this year? What work? Do you relate it to any other artists or movements?
I really relate to your most recent work with the collaged photos. I'm really interested in the new landscapes/environements you created using photographs and it felt like it was in a new space. I can't think of any movements it relates to at the moment.
5. What do you think would make my work better?
I would love to see what new type of work you would create through collaboration.
6.Do you think some of my work can be political, even if I don't say it is, or take a specific position? Is this an effective way of discussing work?
I think it can be, just not directly or with a specific agenda
7.Does my work provide any insight?
Not just from looking at it. Although utilizing a paper such as the Times in your work has a lot of political and social implications.
Thursday, April 28, 2011
Response to Kris' Article
1. What is meant by poor image?
copy of a copy, bad reproduction, unimaginative mental picture
2..What is meant by the contemporary hierarchy of images?
resolution and sharpness
3.What qualifies a work as experimental?
Making work that does not have a well established history in the fine arts.
4. Do you agree that poor images are poor because they're not assigned value from the class society of images?
I don't believe there is a correlation between image quality and class society of images
5. What relevance does this have in painting?
I'm not a painter, but I have seen a lot of work influenced by low quality images
6. Quality is a catch all term to judge, the images, the color,
6. How do we measure the quality of image?
A. by playing "art cop"
Q.Do you consider these qualities when constructing your work?
A. I think so, with film, it allows for many influences to work on and many standards to judge quality
Q. What role does the human condition or the everyday have in your work?
A. My work is strictly i the land of human condition since it deals with the existential idea of life after and fear of death.
Response to Max's Article on Albert Fish
1. How did Albert Fish come to meet Grace Budd?
From a newspaper ad.
2. What are the details that led to Fish's first incarceration?
embezzlement in 1093
3. Give a brief description of the history of mental illness amongst Fish's family.
uncle-religious mania, brother-mental hospital, another brother-died of hydrocephalus, sister-mental affliction
4. What religious activity did psychiatrist Fredric Wertham claim that Albert Fish associated with cannibalism?
communion
5. What do you think about rituals involved in making art? Your art? My art?
we all have a ritual to making art. They are almost unavoidable unless your work involves a different process every time you make art. My work is demands ritual. Every time I wish to create work, there is a series of rituals (photography, animating, editing, etc)
6. What do we gain for knowing someone's motivations?
We can attempt to know someone's motivation, and in that attempt we can decide to empathize or reject their reasoning behind their actions.
7. What role do chance/coincidence play in our intentions?
Chance and coincidence and can make the difference of whether or not our intentions become action.
8. Do you think more importance is placed on an artist or on a specific work of art? Why?
We romanticize the artist and his story and allow that to influence specific works of arts. Everyone loves to hear a good story. Did you hear the one about how Pollock was a drunk? How Warhol was a closet homosexual?
From a newspaper ad.
2. What are the details that led to Fish's first incarceration?
embezzlement in 1093
3. Give a brief description of the history of mental illness amongst Fish's family.
uncle-religious mania, brother-mental hospital, another brother-died of hydrocephalus, sister-mental affliction
4. What religious activity did psychiatrist Fredric Wertham claim that Albert Fish associated with cannibalism?
communion
5. What do you think about rituals involved in making art? Your art? My art?
we all have a ritual to making art. They are almost unavoidable unless your work involves a different process every time you make art. My work is demands ritual. Every time I wish to create work, there is a series of rituals (photography, animating, editing, etc)
6. What do we gain for knowing someone's motivations?
We can attempt to know someone's motivation, and in that attempt we can decide to empathize or reject their reasoning behind their actions.
7. What role do chance/coincidence play in our intentions?
Chance and coincidence and can make the difference of whether or not our intentions become action.
8. Do you think more importance is placed on an artist or on a specific work of art? Why?
We romanticize the artist and his story and allow that to influence specific works of arts. Everyone loves to hear a good story. Did you hear the one about how Pollock was a drunk? How Warhol was a closet homosexual?
Sunday, March 27, 2011
Response to Lauren Alley's Reading
Why is meditative patterning an important part of my art?
It can be a nice release to get lost in the process of making work
Do you think it is possible gain an unaffected state of mind, even for a moment, through meditative drawing?
yes, when you remove the decision making process from creating art, you brain can take a rest.
What role does subtlety play in my art?
I think the subtlety lies in the connection between the style of your ink pieces and their connection to advertisements and billboard design. Your pieces follow some of the principles of ad design, but you do not attempt to mimic advertisements nor use the space to sell a product. The absurdity of the text and patterning makes the work much more subtle and enjoyable.
How does the ephemeral quality of paper deal with the idea of impermanence?
There is a contrast between the short lifespan of the paper and the permanence of the inks being used. Over time, the contrast will more visible and I enjoy the idea that you address this issue. Making artwork with a shelf life is very interesting and beautiful if not alien concept to me considering my work may never degrade while it lives on the internet.
How do you view spectacle in relation to pop culture?
Without spectacle, there is no pop culture.
What is the difference between survival and existence?
survival-food, water, shelter
existence-everything else
How do you view previous generations and their opinion of art, taking into consideration the statements made in this article?
Sometimes I feel that they can be slow to adopt new ideas in art and rely to heavily on art history for their opinions, but I'm sure they can have the opposite problem with me. There also seems to be a heavy emphasis of the old gallery process which I feel needs to die a quick death.
How has civilization compromise autonomy?
There is prevalent idea of the encroaching nanny state in which the more "civilized" society dictates control over the individual like a mother. I do not think we have reached that point yet, but we are faced with issues of self control that should be up to us to decide, such as drug use and suicide, but instead are controlled by the state.
It can be a nice release to get lost in the process of making work
Do you think it is possible gain an unaffected state of mind, even for a moment, through meditative drawing?
yes, when you remove the decision making process from creating art, you brain can take a rest.
What role does subtlety play in my art?
I think the subtlety lies in the connection between the style of your ink pieces and their connection to advertisements and billboard design. Your pieces follow some of the principles of ad design, but you do not attempt to mimic advertisements nor use the space to sell a product. The absurdity of the text and patterning makes the work much more subtle and enjoyable.
How does the ephemeral quality of paper deal with the idea of impermanence?
There is a contrast between the short lifespan of the paper and the permanence of the inks being used. Over time, the contrast will more visible and I enjoy the idea that you address this issue. Making artwork with a shelf life is very interesting and beautiful if not alien concept to me considering my work may never degrade while it lives on the internet.
How do you view spectacle in relation to pop culture?
Without spectacle, there is no pop culture.
What is the difference between survival and existence?
survival-food, water, shelter
existence-everything else
How do you view previous generations and their opinion of art, taking into consideration the statements made in this article?
Sometimes I feel that they can be slow to adopt new ideas in art and rely to heavily on art history for their opinions, but I'm sure they can have the opposite problem with me. There also seems to be a heavy emphasis of the old gallery process which I feel needs to die a quick death.
How has civilization compromise autonomy?
There is prevalent idea of the encroaching nanny state in which the more "civilized" society dictates control over the individual like a mother. I do not think we have reached that point yet, but we are faced with issues of self control that should be up to us to decide, such as drug use and suicide, but instead are controlled by the state.
Wednesday, February 23, 2011
Response to Therese McPherson's Reading
Here is my article and questions.
http://www.artinamericamagazine.com/reviews/adrian-piper/
What stereotype do you identify with?
none, I try not to identify or align myself with any stereotypes
Or
What stereotype do you most relate to?
none
During what activity do you feel most masculine?
taking a piss standing up
During what activity do you feel most feminine?
plucking facial hair with tweezers
May I take a video of you performing these actions?
maybe
How do you feel about Adrian piper being on a suspicious travelers list?
Everyone and their grandmother is on the suspicious travelers list. Its more of a nascence now for regular flyers rather than a sign of a potential threat.
Would you makes the same decision that Adrian piper did if you were put on the list?
no
Five year plan
A. 4-5 years- Work as a stop motion lead animator for a flat-level stop motion company such as LAIKA or Shadow Machine while producing my own short animations and video installations on the side to exhibit at galleries and festivals.
establish a relationship with coworkers and bosses at internships
develop a demo reel that consists of professional work from working at internships and jobs
through established connections and job searches, apply for positions that fit my goal and skill level
B. 2-3 years - Secure a job as an animator at a small stop motion studio while acquiring a studio space and professional equipment to produce my own stop motion animations.
intern at studio to acquire connections and demonstrate proficiency in the animation process.
When position opens, apply for animation position at company
rent a studio space to produce stop motion work
C. 1 year - intern/work as an animator at a small studio
utilize connections to secure a job or internship
D. 6 month - move to LA, Portland, or Seattle and find a stop motion internship while working retail on the side
utilize friends and classmates to settle in a chosen location and intern at a small stop motion company
alternative plan:
develop a ponzi scheme and make money
establish a relationship with coworkers and bosses at internships
develop a demo reel that consists of professional work from working at internships and jobs
through established connections and job searches, apply for positions that fit my goal and skill level
B. 2-3 years - Secure a job as an animator at a small stop motion studio while acquiring a studio space and professional equipment to produce my own stop motion animations.
intern at studio to acquire connections and demonstrate proficiency in the animation process.
When position opens, apply for animation position at company
rent a studio space to produce stop motion work
C. 1 year - intern/work as an animator at a small studio
utilize connections to secure a job or internship
D. 6 month - move to LA, Portland, or Seattle and find a stop motion internship while working retail on the side
utilize friends and classmates to settle in a chosen location and intern at a small stop motion company
alternative plan:
develop a ponzi scheme and make money
Monday, February 21, 2011
Response to Shane Murphy's reading
1) Do you agree that this is all conceptual art is?
no this is an example of how to do work in the style of "conceptual art".
2) How does the fact that there is a eHow on making conceptual art affect your ideas of art?
indifference, my ideas are not affected by ignorant generalities
3) Is there a difference between this and the old Bob Ross painting shows?
yes, Bob Ross never attempted to call his work anything more than representational. The only similarity is that both attempted to teach art to an outsider.
4) Can High Art survive in the modern world?
Yes and no, there will always be an establishment for high art to exist in. But the barriers to create art and influence others through your work are coming down.
And for my own work.
1) My work is firmly entrenched in conceptual art norms, what forms of postmodern art has the internet made irrelevant, or are there any?
I don't think the internet has any affect on the irrelevancy of postmoddern art.
2) I feel my work attempts to make the intangible not just tangible but accessible, is there a point where accessibility tips to eHow?
What part of you is supposedly intangible. By the fact that you are making tangible work about supposedly intangible aspects of yourself makes this argument moot. You are making tangible and accessible work work about tangible and accessible aspects of yourself at some level.
3) My concept of self dissection and betterment strives to be deep, dangerous, and relevant. Is there more to "good" conceptual art than the strength of the concept?
Good can mean so many things. Is the idea engaging? Is the piece visually stimulating? Does it stimulate other ideas, conversations, and debate? I feel like this question is part of the ehow page on conceptual art. Here's a better question. How do you dissimilate between "good" and "bad" conceptual art?
4) Do you feel there is a difference between my work and something someone would make after reading this eHow?
I feel like there is a difference in the work, but not in your outlook on the art world in general. I felt this article was an attempt to make a much broader statement anybody reading the article could create artwork on the same level as a student or graduate of fine arts. That I disagree with. Then again, you could just be playing devils advocate.
no this is an example of how to do work in the style of "conceptual art".
2) How does the fact that there is a eHow on making conceptual art affect your ideas of art?
indifference, my ideas are not affected by ignorant generalities
3) Is there a difference between this and the old Bob Ross painting shows?
yes, Bob Ross never attempted to call his work anything more than representational. The only similarity is that both attempted to teach art to an outsider.
4) Can High Art survive in the modern world?
Yes and no, there will always be an establishment for high art to exist in. But the barriers to create art and influence others through your work are coming down.
And for my own work.
1) My work is firmly entrenched in conceptual art norms, what forms of postmodern art has the internet made irrelevant, or are there any?
I don't think the internet has any affect on the irrelevancy of postmoddern art.
2) I feel my work attempts to make the intangible not just tangible but accessible, is there a point where accessibility tips to eHow?
What part of you is supposedly intangible. By the fact that you are making tangible work about supposedly intangible aspects of yourself makes this argument moot. You are making tangible and accessible work work about tangible and accessible aspects of yourself at some level.
3) My concept of self dissection and betterment strives to be deep, dangerous, and relevant. Is there more to "good" conceptual art than the strength of the concept?
Good can mean so many things. Is the idea engaging? Is the piece visually stimulating? Does it stimulate other ideas, conversations, and debate? I feel like this question is part of the ehow page on conceptual art. Here's a better question. How do you dissimilate between "good" and "bad" conceptual art?
4) Do you feel there is a difference between my work and something someone would make after reading this eHow?
I feel like there is a difference in the work, but not in your outlook on the art world in general. I felt this article was an attempt to make a much broader statement anybody reading the article could create artwork on the same level as a student or graduate of fine arts. That I disagree with. Then again, you could just be playing devils advocate.
Thursday, February 17, 2011
Response to Kim's reading
1. What does de Zengotita mean by "optional"? What is a good example (your own, of course, not his) of "real"? What is an example of "mediated".
Optional refers to choice and the ability to choose between two or more options. Touch to me is a crutial example of the real. With touch, you can determine minute intricacies that otherwise may not be perceived by sight alone. To be able to hold and feel is to perceive real. An example of a mediated experience could be a chat room. There are elements that are natural such as communication and emotion but they are experienced through another layer or plane of perception such as a video display or text.
2. OK, fellow mediated person, what is your constructed identity and lifestyle?
I've constructed the identity for myself of the comfortable artist who happens to have an interesting style without really trying.
3. de Zengotita writes, "Some people refuse to accept the fact that reality is becoming indistinguishable from representation in a qualitatively new way." Are you aware of this? yes I am aware that others are unable to accept that. Do you think about it? no What do you think about it?
I don't think there is a hierarchy on reality. Representational experiences are just a new reality we are learning to accept and both it and reality exist as real as the other. Or is this a pretty new idea for you? no If so, how do you feel about it? We've grown up with representational experiences as reality since we learned how to type and chat on a computer screen. Those outside of the digital divide may qualify it as a different or lesser experience than say talking to a friend on the phone, but for many, it is one and the same.
4. de Zengotita writes," The problem with trying to comprehend the process of mediation is that you can't get outside it." Can you imagine a way to get outside it? If that was your assignment, to get outside of the mediated world/environment, what would you do?
I believe all reality to be a mediated experience through our brain. To become removed would be to remove yourself from your reality. Psychedelics are the first idea that came to mind as a means to do this, but even that is a mediated experience. I think I would fail at this assignment.
Questions about my work in relationship to the reading: You can see my work on my website at kimrusso.net
1. I think my work has the "whatever" quality to it that de Zengotita describes. Do you agree?
Yes
2. I also think my work plays with the range between the real and fabricated/mediated that de Zengotita describes, and I present that range on a level playing field. Do you agree, or not--and why?
I agree, because you take the objects out of their normal surroundings and create a new mediated experience.
3. What else can I/should I do to more successfully describe, in my work, the mediated/optional environment we live in in America?
I don't think I can suggest anything else for you to add to your work
4. What is the similarity or difference between the "tone" of de Zengotita's writing/analysis and the "tone" of my drawings?
HIs tone seems to come from the point of view of a curmudgeon who wants nothing to do with new digital experience and feels nostalgic for a simpler time. Your work on the other hand seems less critical and more open to discussion
Friday, January 21, 2011
Thursday, January 20, 2011
Artist Statement
Death is not to be feared, but respected. It can come at any moment and deprive us of future experience. I reject the notion of an afterlife or immortality and embrace this existence. Characters and situations in my animations are used to personify my views in a sincere and honest manner. They are done using stop motion animation because I enjoy the inherent realism that the medium entails. Creating this project has pushed me to explore my beliefs and confront my fears about death. I would like my animations to begin a dialogue with the viewer about my views on death and mortality and lead the viewer to a similar introspection.
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