Describe this work and write an analysis of it. How does this work make you consider issues of privacy?

As you approach the Henry art gallery, you notice what looks like a window at first, but actually appears to be large video feed. Given that this is a creative (and college) environment, you tend not to question too heavily the presence of odd things. However, after further explanation from our guide, the what is called Sanctum exhibit gathers information about you, so to speak, if you stand in front long enough. The whole group now eagerly and some anxiously wait to try it.  The "window" records absolutely all the time. It records at night and on holidays and when no one is walking by to test it's omniscience. It apparently determines certain context clues from the individual or group standing in front of it and then queues some actual Facebook feed that would be theoretically relevant to the viewer. For instance, in my group, we were all in the 18-25 age bracket with backpacks. Some of us dress or modify our bodies more adventurously. Band t shirts and body piercings were prevalent. The Facebook feed revealed to us dealt with school matters, losing necessary items, and hanging out with friends. Although not too insightful, it was still a little unnerving that this even exists at all. However, on that same note, Facebook does the exact same thing. On the side panel after a few uses, advertisements already become custom tailored to your interests based on small factors such as gender, relationship status, and age. It is scary to consider this reality, not at the terror of being sold another disposable, useless product, but at the thought that other entities could be using similar technology. If we allow ourselves to accept or apathetically watch while these practices run rampant, I have no doubt we will find ourselves in a society utterly deprived of privacy, an intrinsic right.

RE Final Presentation

RE Final Presentation

Thursday Lecture Response

Describe the work of one of these artists and how you see their influences affecting their work.


From a conceptual standpoint, I found Robert Rhee's work to be very intriguing.Also, I found him to be a compelling speaker and was very interested in his process. However, Robert Campbell's work I found to be much more visually stimulating. I have little understanding of video production so I was interested to hear about the unique ways he manipulated video and incorporated it into works of art. For instance, the work Interval Two, was less like viewing a painting and more like an "experience". It was reminiscent of the sensation of sitting down and listening to an entire album like Pink Floyd's Dark Side of the Moon. The triptych style also seemed like reading a story or viewing three narratives in one setting. I was also very interested, and wish he could have further elaborated upon his Polaroid transfer methods. This is a process I have seen before and have attempted to replicate but with little success. I think his work would inspire me to branch out and try different methods I haven't before and keep pursuing ones I have been unsuccessful with in the past. It is important to note that Rob's work has definitely impacted me in terms of considering my materials in their original raw form conceptually when producing something. These vastly different artists provided an excellent lecture with differing approaches to art that created a very wholistic view of the age old question of what makes a good artist.

Recontextualized Object

A Response to Getting Lost

After embarking on the “RE Project”, I read Rebecca Solnit’s Field Guide to Getting Lost excerpt. Although I found Wim Wender’s reading intriguing, Solnit’s writing had an interesting almost retrospective effect on the work. I left for Capitol Hill armed with what I thought would be groundbreaking ideas and excited for a show I had tickets for. I had everything mapped out on my phone and in my head. After about an hour of photographing various areas of East Pike, dodging panhandlers and tourists, my boyfriend trailing behind, I grew discouraged. Nothing was turning out how I hoped. I put my phone away in temporary defeat and wandered into a local bar for cheaper drinks than the ones offered at the venue. I walked in and was welcomed with a poorly stocked bar, a cash only sign, an odd smell, and dollar bills peeling off the decrepid ceiling, reminiscent of many dives back home. The bartender proved to be an interesting character, rings on every finger, tattooed, and obviously disenchanted with the whole place, and most likely the city. I wanted to just capture at least one glimpse of the impression the area had left me with. I didn’t want to capture store fronts or neons or gutterpunks languidly lying on sidewalks. After expressing my plight to “Ryan in case we needed anything”, we decided a photo of his hands on the aging bar would be ideal. Before I knew it, he pulled out a knife from his pack pocket and stabbed into the bar, folding his hands. “That’s the shot.” He told me, instructing on an appropriate angle. As the evening wore on, I didn’t have a chance to glance at the photo I had taken. When I got home, I finally made it to the camera on my phone. It perfectly captured everything I took away from the area. It demonstrated the dirty, sometimes menacing, but intriguing value of the east side. After reading the Solnit reading, it all collided into sense. She states, “The art is not one of forgetting but of letting go.” I let go of all my plans and produced something way different and unexpected but valuable.

RE object photo

 

Kleiner Wunderkammer

Sam Prompt Response

Art and fashion equally attempt to effectively push boundaries. They both challenge societal "norms" and create ever evolving public opinion. In this particular show, Japanese fashion seemed to be more centrally focused around form and concept over function. Even collections that are now twenty years old, still seem extraordinarily futuristic and exemplify forward thinking. For instance, Issey Miyake's collection demonstrated a streamlined design for a very modern woman. He also created garments that were reminiscent of origami in that they folded down into one collapsible design. Also, the materials used, which were widely repeated in several designers' collections, such as polyester or rayon, are synthetic. However, they still maintained these amazing shapes in the garments displayed. The most notable of these designs can be seen in Hiroaki Ohya's creation of a red honeycomb dress constructed entirely of polyester film. this piece fascinated me most in the exhibition. Though these streamlined, futuristic narratives seemed to dominate the show, there were other designers that went a different route. There is a deep sense of nostalgia and costume in Rei Kawakubo's collection. Gingham patterns and large lumps around the neck and torso of colorful gowns greatly contrasted the aforementioned designers. The dresses reminded me of the Victorian era, but still seemed very futuristic. It called to mind films such as "The Fifth Element" or "Bladerunner". Since fashion is much more prevalent and obvious in our daily lives than other forms of art, it can facilitate a change or shift in social opinion much faster. The emphasis and exaggeration of non traditional areas such as the hips on the clothing in Kawakubo's collection seemed to almost challenge gender roles in society. The focus in Western fashion seems to be either masculine or feminine and reinforce gender roles. These alien shapes created by the illusion of the design questions the way we as people perceive as being attractive or beautiful. The focus is totally shifted away from the proverbial miniature waistline. it has also effectively asked the viewer to contemplate the difference between art and fashion.