Monday, April 11, 2011
Thursday, April 7, 2011
Tuesday, April 5, 2011
Artist Lecture: Trevor Paglen
Questions and Response
1. Do you feel your work could be dismissed by some viewers as conspiracy based propaganda?
2. Do you have any concerns with the legality of the actions you take to make this work?
1. Do you feel your work could be dismissed by some viewers as conspiracy based propaganda?
2. Do you have any concerns with the legality of the actions you take to make this work?
Monday, April 4, 2011
Thursday, March 31, 2011
Idea 3/31: Mindstream (Stream of Consciousness)
What is it?
The concept of mindstream is the english interpretation of the Buddhist philosophical idea of being consciously aware from one moment to the next. A mindstream can be a finite period or can be a part of an infinite period of consciousness. There are may texts referring to this process as a stream of thoughts and images that allow one to gain insight into themselves as a part of the universe.
In my work
Much of the work I produce has some element of the mindstream, I often find my hands making movements and gesture that I don't consciously think about, especially when working in collage or with mixed media. Throughout the years I've been making art, I've had to become semi-aware of this phenomena being present in how I work so that I can still maintain a level of cohesion within the pieces I produce. Mindstream, in conjunction with research and planning, has helped me create some of my best, most honest works of art.
Quotes from experts
"In Vajrayāna Buddhism the subtlest state of consciousness is known as clear light. In terms of categories of consciousness, there is one type of consciousness that consists of a permanent stream or an unending continuity and there are other forms of consciousness whose continuum comes to an end."
Gyatso, Janet (1998). Apparitions of the Self: The Secret Autobiographies of a Tibetan Visionary; a Translation and Study of Jigme Lingpa's 'Dancing Moon in the Water' and 'Ḍākki's Grand Secret-Talk'. Princeton, New Jersey, USA: Princeton University Press.
Ryhs Davids interpreted Professor de la Vallee Poussin stance on mindstream to be "not as one permanent, unchanging, transmigrating entity, as the soul was in the atman-theory, but as an 'essential series of individual and momentary consciousnesses...'"
Davids, Rhys. Stories of the Buddha: Being Selections from the Jātaka. New Delhi: Asian Educational Services, 2000. Print.
The concept of mindstream is the english interpretation of the Buddhist philosophical idea of being consciously aware from one moment to the next. A mindstream can be a finite period or can be a part of an infinite period of consciousness. There are may texts referring to this process as a stream of thoughts and images that allow one to gain insight into themselves as a part of the universe.
In my work
Much of the work I produce has some element of the mindstream, I often find my hands making movements and gesture that I don't consciously think about, especially when working in collage or with mixed media. Throughout the years I've been making art, I've had to become semi-aware of this phenomena being present in how I work so that I can still maintain a level of cohesion within the pieces I produce. Mindstream, in conjunction with research and planning, has helped me create some of my best, most honest works of art.
Quotes from experts
"In Vajrayāna Buddhism the subtlest state of consciousness is known as clear light. In terms of categories of consciousness, there is one type of consciousness that consists of a permanent stream or an unending continuity and there are other forms of consciousness whose continuum comes to an end."
Gyatso, Janet (1998). Apparitions of the Self: The Secret Autobiographies of a Tibetan Visionary; a Translation and Study of Jigme Lingpa's 'Dancing Moon in the Water' and 'Ḍākki's Grand Secret-Talk'. Princeton, New Jersey, USA: Princeton University Press.
Ryhs Davids interpreted Professor de la Vallee Poussin stance on mindstream to be "not as one permanent, unchanging, transmigrating entity, as the soul was in the atman-theory, but as an 'essential series of individual and momentary consciousnesses...'"
Davids, Rhys. Stories of the Buddha: Being Selections from the Jātaka. New Delhi: Asian Educational Services, 2000. Print.
Monday, March 28, 2011
Artist 3/28: David Schnell
Schnell's work hit me hard the instant I walk by the wall sized image hanging on the wall of the VMFA, it's simply impossible to miss. He has this ability to create a great deal of light source "movement" as if the unseen sun in the image is rising and setting over the course of the painting's creation. Implied lighting aside, his perspective line work is simply stunning, forcefully sending the viewers eye from one end of the image to another and back again, over and over. Finding this talented, recently budding artist has already made a tremendous impact on my own work in how I use color, create line, imply depth, et cetera.
Bio
Quotes
"Streifzuge: Paintings by David Schnell / e-flux." e-flux.com. e-flux, 18 Jun 2006. Web. 28 Mar 2011. <http://www.e-flux.com/shows/view/3300>. 
All images from sandronirey.com
Bio
"David Schnell usually employs elements of landscape in his paintings. Indeed, first-time viewers might be under the impression that they are looking at landscape paintings, but in reality they are witnessing Schnell's obsessive treatment of space - something he frequently intensifies by painting in large formats that seem to engulf the viewer. Equally striking is Schnell's compelling use of linear perspective and the vanishing point to create pictorial order. However, this order is often counteracted by the artist's almost subliminal desire for action. These conflicting elements of order and explosion give the paintings an extraordinary energy and dynamism that never leave the viewer's eye or mind at rest. The landscape in Schnell's works provides a framework against which he explores his thoughts, ideas and artistic concerns.
David Schnell was born in 1971 in Bergische Gladbach, Germany. He lives and works in Leipzig."
David Schnell was born in 1971 in Bergische Gladbach, Germany. He lives and works in Leipzig."
"Artnews.org: David Schnell at Parasol Unit London."Artnews.org. artnews.org, 09 Jul 2006. Web. 28 Mar 2011. <http://artnews.org/gallery.php?i=2323&exi=2603>.
Quotes
“Equally striking is Schnell's compelling use of linear perspective and the vanishing point to create pictorial order. However, this order is often counteracted by the artist's almost subliminal desire for action. These conflicting elements of order and disorder give the paintings an extraordinary energy and dynamism that never leave the viewer's eye or mind at rest.”
“A love for the tradition of great German Renaissance painting is added to a notion of a new pictorial space. These are elements that Schnell reprocesses in an extraordinary range of highly original compositions in which colour and forms lead towards a fabulous imagined world depicted at the borderline of abstraction”
Rovereto, Mart. "Contemporary Germany. To Paint is to Narrate. Tim Eitel, David Schnell, Matthias Weischer. -Mart." http://english.mart.trento.it/. N.p., 28 Jun 2008. Web. 28 Mar 2011. <http://english.mart.trento.it/intranet_newsletter.jsp?area=42&ID_LINK=59&page=92&IDCTX=2194>.
Rovereto, Mart. "Contemporary Germany. To Paint is to Narrate. Tim Eitel, David Schnell, Matthias Weischer. -Mart." http://english.mart.trento.it/. N.p., 28 Jun 2008. Web. 28 Mar 2011. <http://english.mart.trento.it/intranet_newsletter.jsp?area=42&ID_LINK=59&page=92&IDCTX=2194>.
Kleine Rennbahn, 2003
oil and tempera on linen
31 x 47 " (78.7 x 119.4 cm)
oil and tempera on linen
31 x 47 " (78.7 x 119.4 cm)
Rinne, 2004
oil and tempera on linen
65 x 99" (165 x 250 cm)
oil and tempera on linen
65 x 99" (165 x 250 cm)
Lichtung, 2002
egg tempera, paint and charcoal on canvas
98.43 x 70.87 " (250 x 180 cm)
egg tempera, paint and charcoal on canvas
98.43 x 70.87 " (250 x 180 cm)
Gehege, 2000
egg tempera on canvas
94 x 83 inches (240 x 180 cm)
egg tempera on canvas
94 x 83 inches (240 x 180 cm)
All images from sandronirey.com
Wednesday, March 23, 2011
Lecture: Laurel Nakadate Q and R
"Laurel Nakadate (born December 15, 1975) is an American video artist and photographer living in New York City.
Laurel Nakadate was born in Austin, Texas and raised in Ames, Iowa.
Nakadate's 2005 solo show at Danziger Projects, "Love Hotel and Other Stories," was featured in The New York Times, The Village Voice, and Flash Art. Art critic Jerry Saltz named her a "standout" in the 2005 "Greater New York" show at P.S.1 Contemporary Art Center, Long Island City, N.Y.
Since then Nakadate's work has been exhibited at the Getty Museum, Los Angeles; the Asia Society, New York; the Reina Sofia, Madrid; the Berlin Biennial; Grand Arts, Kansas City; and at Leslie Tonkonow Artworks + Projects, New York. An ten-year retrospective of her work, called Only the Lonely, is on view at MoMA PS1 from January 23 to August 8, 2011.
A cover interview with the artist appeared in the October 2006 issue of The Believer.
Nakadate's first feature-length film, Stay The Same Never Change, premiered at the Sundance Film Festival in Park City, Utah, on January 16, 2009, and was featured in New Directors/New Films 2009 at The Museum of Modern Art and Lincoln Center. Her second feature, The Wolf Knife, premiered at the 2010 Los Angeles Film Festival, and was nominated for a 2010 Gotham Award and a 2011 Independent Spirit Award.
Nakadate currently lives and works in New York City. She is represented by Leslie Tonkonow Artworks + Projects." Bio excerpt from Wiki
Questions
A large portion of your work deals with psychosexual identity and feminism, do you feel that you work is equally accessible to both men and women?
Relating to your work that is currently in the MOMA, since it deals so heavily with voyeurism, loneliness, longing, etc. I sense a commentary about contemporary American society. Do you feel this is the case?
Laurel Nakadate was born in Austin, Texas and raised in Ames, Iowa.
Nakadate's 2005 solo show at Danziger Projects, "Love Hotel and Other Stories," was featured in The New York Times, The Village Voice, and Flash Art. Art critic Jerry Saltz named her a "standout" in the 2005 "Greater New York" show at P.S.1 Contemporary Art Center, Long Island City, N.Y.
Since then Nakadate's work has been exhibited at the Getty Museum, Los Angeles; the Asia Society, New York; the Reina Sofia, Madrid; the Berlin Biennial; Grand Arts, Kansas City; and at Leslie Tonkonow Artworks + Projects, New York. An ten-year retrospective of her work, called Only the Lonely, is on view at MoMA PS1 from January 23 to August 8, 2011.
A cover interview with the artist appeared in the October 2006 issue of The Believer.
Nakadate's first feature-length film, Stay The Same Never Change, premiered at the Sundance Film Festival in Park City, Utah, on January 16, 2009, and was featured in New Directors/New Films 2009 at The Museum of Modern Art and Lincoln Center. Her second feature, The Wolf Knife, premiered at the 2010 Los Angeles Film Festival, and was nominated for a 2010 Gotham Award and a 2011 Independent Spirit Award.
Nakadate currently lives and works in New York City. She is represented by Leslie Tonkonow Artworks + Projects." Bio excerpt from Wiki
Questions
A large portion of your work deals with psychosexual identity and feminism, do you feel that you work is equally accessible to both men and women?
Relating to your work that is currently in the MOMA, since it deals so heavily with voyeurism, loneliness, longing, etc. I sense a commentary about contemporary American society. Do you feel this is the case?
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