Me getting off my ass— Makeup work chapter 2 Internal and External Inspiration
At the foundation’s exhibit I was drawn to Katherine Baiocchi’s work. I’ve had a few classes with her and her process and way she handles materials is incredibly interesting and unique. She has a very messy visceral way of working with found common objects that is beautiful but not on the traditional sense of the word. She had made two large ballerinas that were paintings with found objects glued on to help make the figure, the most noticeable were the bandaids she made into the ballerina’s dresses.
In chapter 4 I really found Yukinori Yanagi interesting and intriguing. He focuses a lot on process as well but his is clean and contained in many ways while Katherine’s is wild and chaotic. I really liked obsession about perspective and life through animals instead of humans to gain more knowledge about ourselves. Especially the pieces with the ants. I found it really fascination and would love to see his work in person.
Me Getting off my ass— chapter 1 scoping an audience
Julian La Verdiere:
Internal Inspiration I don’t agree that Verdiere does complete internal inspiration, and I find these categories pretty fuckin stupid. Every person is a mixture of these. Our internal thoughts are changed by the world around us, and we change the world based on our thoughts. Therefore this internal vs external is silly. I don’t think that he is completely internal. Yes he does want to inspire imagination curiosity and motivation all which are intra-personal ideas, however many ideas and inspiration come from the outside world, like his remaking of the Trans- Atlantic Telegraph Cable Crossing. Yes he did change and omit certain points in history with this art work, but it is inspired by a true event. Therefore I don’t think he’s internal. I think his approach for content and how he creates content is heavily like what he wants the viewer to experience, he wants to give inspiration, imagination and motivation and he does stretch the truth to his desire in some points.
William Kentridge: External Inspiration
I can agree for the most part that William Kentridge is mainly External Inspiration. He draws upon his knowledge of South Africa as a big part of his work. I enjoy kentridge’s approach to film with more visceral and ‘dirty’ mediums when film is thought of as very ‘clean’. I don’t have much to say about his inspiration, but I despise her explanations of film. Maybe I just don’t like how people write about film in the first place but it just seems out of place, describing on paper an experience I am supposed to view in person. I also get a little snippy with her tone, It can go from completely drab and she doesn’t care about the artist to brown nosing at some points. The inconsistency bothers me the more I read.
Regarding what inspires me, I’m not sure what to categorize it as. I like stories with any work, I think thats why I’m drawn to tbm and illustration. I think that’s why I chose these two artists because they were the most interesting to me. every story is started with external and internal influence. People are infinitely interesting. I think that’s why I also love figure drawing and portrait making.
My paper for Madison
One for All:
Shigeru Miyamoto Is the creator behind Nintendo’s smash series. He created Legend of Zelda, Mario, Donkey Kong, Starfox, Pikmin, and many more. He started in the late 70’s early 80’s. His work is iconic and known throughout the world. Miyamoto is the creator of man people’s iconic childhood heroes and nostalgic memories. Miyamoto creates with the viewer/ customer in mind. He needs to make a game that will sell for the company, but he also has to make something that fans will adore, and that they will want to spend money on. Miyamoto has to think about the story and interaction of the player. Ultimately if a game isn’t fun no one will want it. Luckily for him the adoration for these characters gives him much leeway with making games.
Ultimately Miyamoto is a completely successful one for all artist. Everyone loves one of his creations. Maybe because his creations are more of pop culture icons than living room decorations. By creating characters he creates something tangible and living. people can grasp it and create memories that are specifically related to his characters. By making them tangible he has created a lasting icon for generations. In any way you look at it he is successful. He is able to do what he loves, create what he wants, get payed lost for it, and leave an impact upon society around the world.
Me getting off my ass and doing some makeup work— Preface
23 March, 2012
The first exhibit we decided to see was the Houdini exhibit. We walked in and were greeted by a large spacious gallery. the gallery was sectioned off to lead you through the exhibit and out the door you came from. I was rather unimpressed by the artwork in this exhibit. It was a tribute to the magic that was Houdini. I did not feel like it was an art exhibit though. Yes, it did have artwork based off of Houdini mixed with props and items that he used, however I felt like it was more of a memorial than an exhibit. Most of the art there was “oh look pretty!” or had a shock value that added to excitement but I wasn’t excited about the actual piece. For example the milk jug that had the hologram of hands coming out of it. When I saw it all I thought was, “Oh cool, a hologram!”; not an intriguing interest in the art.
The next exhibit I visited was the E Pluribus Unum: Artists Picture Society. I again was not impressed at all with this exhibit. I made it once around quickly and then left. Sure they were nice photographs but the exhibit theme and artwork just didn’t catch my attention at all. What caught my attention most in the room was not the artwork, it was their genius way of getting kids not to touch the art. They had a pillar thing with a mirror that asked the kids to touch it and then explained why they had handprints on the mirror and how it related to art. That was quite entertaining.
The Mexican Print exhibit was the exhibit I enjoyed the most. I found the prints rather beautiful and emotive. Almost print I saw in there I found intriguing and beautiful. My favorite artist there was Rufino Tamayo. I loved the line work in his prints and the looseness of his cuts in the linoleum. The movement and free form feel makes these prints beautiful for me.
When entering the Capital building I was instantly awed by the grandiose size and the expensive interior. This rotunda was expansive, much larger than I would have thought. The mosiacs of liberty, government, justice, and legislation were beautiful and I couldn’t help but stare at the domed ceiling and feel like an idiot turkey looking at rain. After being mystified by the stature of the rotunda we began our tour. Every room was stunning, and I can’t imagine how much money was put into it. The building was beautiful and breathtaking. However it may not be the best thing to show off with the current state of the economy. It’s a little expensive and seeing that we have no money as a country it creates a good amount of animosity between the people and the government. I also thought the quote about fairness were ironic in the governors meeting room.
This Symposium Recap
So reading this preface the only thing I found interesting was the Guild Systems of Medieval times. To think that someone regulated you so much that you didn’t even buy your own brushes is quite intriguing. I think it’s a sad idea because the reason I turned to art was the creativity and expressive quality of it. I thought back to our in class discussion and I think the conclusion we came with was that no one could agree and that’s what makes the art world beautiful now. We can all love different artists and be drawn to different aesthetics but all agree that there is some level of importance in all of them. I found most of the writing in the preface dry and boring, but I’m glad she brought up the idea that “No decision demands a lifelong commitment.” When I read this I smiled. I HATE writing artist statements because when you are forced to write them it’s giving yourself a title, a niche, and an expectation. I hate feeling like that. Because quite frankly I can have a small attention span with things and who knows I may grow to love painting tomorrow and hate chalk pastels even though the opposite is true today.
This Symposium: Tony Wood
I think Mitch Mortimer was the best prepared to speak with students about his career and illustration but also going into the arts as a profession in general. His display was professional and well set up. He had multiple examples of his work, and he had things to give out ranging from posters to stickers. Giving out items definitely made me remember him more than some other presenters. He also was straight forward with answering questions and being very honest and open about his journey and experiences as an illustrator. He was frank and honest about how to get jobs and be a successful freelance illustrator in the industry. He really emphasized that your charisma and aproachability were key to landing jobs. There could be someone much more talented than you; however if you connect and make the client feel more secure and get them to trust you— you will get the job.
In complete opposition I think when it came to walking around and actually talking to people Chip Kidd did the worst. I love the book 1Q84— haruki murakami is one of my favorite authors. However when i approached him he was quite on edge, and didn’t really answer any question and brushed it off. He wasn’t completely stand offish, however he wasn’t worth talking to outside of his talk. I don’t know if it was nerves or having a bad day but i felt like if he wasn’t going to really answer questions and stuff then why was he walking around where we were supposed to ask professionals about their work and careers?
On the flip side though his presentation was wonderful. He was lively and charismatic and had some really good points to make. The wrap up panel was interesting as well, I wish it was longer so that it was more than just them telling about their success and/in failures and getting to where they are. I think that it gave us a little insight of what we are getting ourselves into and some advice to take along to make our careers smoother and to help us start thinking about where we want to go and how to get there.
This Symposium: Mitch Mortimer
1) Where do you draw inspiration for your pieces?
2) What drew you to this genre?
3) What would you say is the most important aspect of TBM?
This symposium: Nick Waraksa
1) As an illustrator the field is very broad, what are your preferred jobs to hunt out and illustrate?
2) Does your style define you or vice versa?
3)In the ideal perfect world where time and technological pressures don’t matter would you choose digital or traditional methods of illustration? Why?
1) How does your collaborative studio blend function? (jobs people tend to take, do people specialize only in one thing while working in blend or does everyone tend to dabble in each part (storyboarding, audio, ect.))
2)What drove you to work in this field? Is that the same reason you work in it now?
3) What is the key to being successful in your field?