1) Create drawings based upon the information given from a high resolution photo of my own iris. Attempting to decode the data of my own iris, translating this information into a 2D image. If the scale is large enough and the photo is cropped or sectioned into multiple pieces the result would likely be read by the viewer as an abstracted or nonrepresentational image. This would be an investigation of recognition through eyes. Inspiration for this piece was drawn from the ideas behind iris or retina recognition and the future of identification and security.
a) Exploring identity through the preventing recognition of the human face. I would take portrait photographs and manipulate and distort them through a computer program. I would then create a painting of each portrait in it’s now abstract and non-representational form. Inspired by the condition referred to as face blindness.
b) Another route that this idea could take is inspired by uncanny valley. Basically, I would only distort the portraits a slight amount, i.e. manipulating the eyes slightly, or elongating the face. I would then attempt to create a photo-realistic drawing based upon the new distorted portrait.
3) Investigate popular portrayal of individuals through posed (stock) portraits of “identity thieves” or computer hackers. I’d like to take these images and create dramatic drawings or paintings based upon their generalized and comical depictions. Basically, I’d like to use these images to comment on generic and lazy depictions of certain individuals.
Duane Hanson Tourists
Form: Life-size sculptures of two human figures dressed in tourist attire that appear to be viewing the gallery they are placed in.
Content: The artist creates this hyper-realistic sculptures and places them as if they are actually guests in the gallery, in which case the viewers could easily see them as fellow viewers instead of the actual art.
Process: While this artists work is largely about the finished result and the viewers reaction to it, the artist does go through painstaking detail to create these sculptures.
Why? Hanson makes his own works identity blend completely in with it’s surroundings and it’s viewer while making a comment about the viewers own identity.
Evan Penny Self Stretch
Form: Sculpture of a human bust distorted but still recognizable.
Content: The artist takes a traditional form of art in sculpture, and creates an object that is both hyper realistic and representational to the viewer but still distorted and abstracted.
Process: The artist may have used an image manipulation program to do a simple stretch or bend of the 2D photograph, then he bases his sculpture off of that.
Roland Mueck Mask II
Form: Large scale sculpture of the (presumably the artists) head.
Content: The artist does not present this as a self portrait, but takes his own face and blows it up into a vastly larger than life scale. He lays it on it’s side and puts it on a pedestal. This piece plays a lot with scale and providing unfamiliar size of the subject.
Process: This was likely a plaster cast or mold of his own face, taken and recreated in a large scale by the artist. There is extreme detail throughout the piece, and much attention was paid to create a life-like presentation.
Why? Mueck takes objects we are familiar with and changes their scale to surprise the viewer.
Form: Large scale portrait of a human face.
Content: The artist takes the traditional imagery of a portrait and breaks it into being composed of abstract and non-representational marks. The image is photorealistic when viewed as a whole, but in detail you see the abstraction.
Process: These large scale paintings are likely treated as abstract, color and shape relationships by the artist. Which, in a way, speaks with the academic part of creating a painting.
Why? Close has taken portrait and made it not about identity but about color and shape.
Jeff Koons Gagosian
Form: Large scale, brightly colored, reflective steel balloon animals.
Content:The artist is himself a businessman, and treats his art as a business module. He takes these balloon animals, an object that is both seen as fun and often given away by clowns to children, and creates fine art with this subject. He makes large sums of money off of each of these.
Process: These pieces were created by Koons employees, a nod to Warhol and art fabrication.
Why? Essentially Koons has used his own identity as a business specialist to make decisions with his art.
Project 1, version 1.
1) I plan to create an extremely resolved graphite drawing of a computer on a medium to large scale. Then, take a photograph of that drawing. I will take that photo and (forcefully) open it with a word processing program, likely Microsoft Wordpad. This will display the raw data of the photograph. I will then take the raw data and insert that into a sound editing program, which will result in dissonant computer garble. I will then print out both the photograph and the raw data and display these two aside the actual drawing with the sound file playing through speakers. I think for this I’d like to explore the ideas of translation and overwhelming amounts of data or information.
2) I will take every garment I own, access the “washing and care” tag located on the inside of most clothing items, and document the care information in english and other various languages of text that are featured (typically French, German, Chinese). I will then digitally collage these documentations onto a single plane in a uniform fashion and have them screen printed onto a t-shirt or even a large sheet of fabric. For this I would investigate presenting the information found in areas not meant to be read by the public and revealing it as the language of the garment itself.
3) I will take the html code of every website visited over a series of days, copy and paste it into a word processor. I’ll then print each out as an individual image and present them chronologically in the format of a hard-cover book. Here I’d just like to take a simple idea of telling a linear story (point A to point B) and present it in a format that is seen more or less as data and indecipherable to anything that is not a computing system.
1) I find technological language and data to be very interesting. I don’t know much about code, or advanced mathematics for that matter, but I find visually that they create really interesting forms.
2) A book is a physical collection of words or images in a rather large number that are assembled to convey an idea or message.
3) Books contain the intent of the author, the written words given to create a story or convey information. But, they also contain patterns and shapes created by these letters, words, paragraphs, and pages that are not usually intentionally crafted to have any meaning, but develop one through the viewer.
4) I want minimal information derived from a massive overload of data and language. I guess it seems interesting to be to create a really dense forest of data, allowing it to create it’s own image beyond my control and use that as a jumping off point for the piece.
1) Richard Serra “To Lift” (1967, vulcanized rubber)
Form- A large sheet of vulcanized rubber folded and manipulated to rise upwards.
Content- The artist attempts to give this commonly used material a new meaning by altering its shape and form, and by also placing it into a gallery setting.
Process- Serra takes an item that is commonly used for industrial or non-art making purposes manipulates it in a way that gives it a new meaning through visual representation.
2) Yoko Ono “Voice Piece for Soprano & Wish Tree” (2010)
Form- The artist yelling indecipherable words and sounds through a mic at a gallery exhibit.
Content- The artist may have been attempting to express things that are not conveyable by words. Also, it could have been a test of the limits of what a viewer can determine is artistic expression.
Process- The artist performs this piece in a gallery full of people, likely with little to no preparation or premeditation towards what will be done allowing it to be completely spontaneous.
3) Paulina Olowska “Alphabet Letters”
Form- A group of dancers wearing vibrant red colors contorting into the shapes of letters of the alphabet.
Content- The artist is trying to convey our own language through motion and action, trying to express a written and verbal form of expression in an entirely physical way.
Process- These dancers are choreographed by Olowska, likely given careful note into what movements pertain to what period in the performance.
4) Ferdinand Kriwet “PVC floor runner”
Form- A long, flat floor mat rolled across the floor of an art gallery. This mat has the words “walk” and “talk” printed onto it repeatedly.
Content- The artist may be trying to explore and find connections between the ideas of repetition and rhythm in the act of walking and talking , specifically pertaining to the way that viewers attend art openings.
Process- This piece is likely site specific and was carefully planned to be placed onto that specific area of the gallery. The construction is rather simple, a flat mat with flattened value and color.
5) Paul Elliman “Found Font”
Form- A typographic set of letters that is abstracted and contains variation in size and boldness.
Content- The artist explores human written language through
Process- Each letter in this set is actually a found industrial object or tool that can be viewed as a letter of our own alphabet. Some letters are manipulated, but most are simply the silhouette of the object.