Backgrounds of double exposure series.
For the first task in the Habitat series, experimentation was taken to a whole new level. This idea of folding paper, that ultimately just doesn’t want to be folded (I’ve become vastly aware of the stubbornness of bristol this week) was somewhat confusing.
But thankfully the whole class was having similar angst feelings about this project. To create a ‘second skin’, using only bristol paper, a scalpel, needle and thread or wire we all thought to be virtually impossible. However, after tedious amounts of folding, scoring, cutting and more folding, i eventually got the Habit of it and began developing my hand. I should also mention the part where i stupidly spent a whole day isolating my pieces… on the wrong paper…lesson to always check the paper LEARNED!
For the next phase of our Studio project, we are to create a series of self portraits that conceptually capture the essence of our past and present lives. Closely engaging with the ‘I remember’ list as well as our individual postcards, this assignment ultimately allows us to draw upon both conventional and non-conventional notions of Portraiture to depict our self in a multi-faceted way. Here are examples and inspirations of Artists who demonstrate this very idea, challenging basic ideologies of the way artist may identify with themselves while epitomising how society is constantly influencing the art world.
Chuck Close – I am not trying to make facsimiles of photographs. Neither am I interested in the icon of the head as a total image. I don’t want the viewer to see the whole head at once and assume that that’s the most important aspect of my painting. I am not making Pop personality posters like the ones they sell in the Village. That’s why I choose to do portraits of my friends–individuals that most people will not recognize. I don’t want the viewer to recognize the head of Castro and think he has understood my work
Cindy Sherman– Universally known for her distortion of the concept of self portraiture- utilising costume, make-up and digital manipulation to exacerbate her excessive passion of self exploration and “using my face as a canvas…”
“I’ll see a photograph of a character and try to copy them on to my face. I think I’m really observant, and thinking how a person is put together, seeing them on the street and noticing subtle things about them that make them who they are.”
“There’s a theory that there were so many women photographers at the time because we felt nobody else was doing it. We couldn’t or didn’t really want to go into the male-dominated painting world, so since there weren’t any artists who were using photographs, we thought, ‘Well, yeah, let’s just play with that.’ “
This week in class, we displayed our selection of postcards, illustrating ‘How We Got Here.’ This concept was utilised and interpreted in many ways; some demonstrating quite literally their journey through life and others slightly more metaphorically. As my individual transition to Parsons has revolved greatly around my relentless travels and self-exploration, i chose to centre my work around the notion of a physical journey.
So i’m starting to get more of a hang on this whole ‘talking notes’ thing, which was the same story for our week two assignment combined with a three pages essay/short narrative detailing a selection of memories from our simultaneous studio project.
In Eighners recount, ‘On Dumpster Diving’ there is a deep sense of satire while maintaining overwhelming utilization of an aphorism tone, indicating the mundane realities of living homeless. Through Eighners systematic detailing of the processes of ‘scavenging’, it becomes evident the extent to which looking through trash consumes his everyday life, in particularly when materialistic objects lose value in the face of survival. There are occasions where the term ‘Dumpster’ has been personified, ultimately highlighting its important and ambiguous nature. In his expression, “A dumpster is somehow less persona” Eighners couples the various charactertics of a dumpster and contrasts them against those of personal garbage which demonstrates his sincere connection and dedication to life as a scavenger on a far more personal level. Furthermore, Eighners insights raise questions about what our modern society perceives as waste and the issues of a mass consumerism, highly materialistic way of living.
Quotes
“Every grain of rice seems to be a maggot. Everything seems to stink. He can wipe the egg yolk off the found can, but he cannot erase the stigma of eating garbage out of his mind.” (pg 4 Para 8)
“Every bit of glass may be a diamond, they think, and all that glistens, gold.” (pg 4)
“A Dumpster is somehow less personal” – personification (pg 5)
“I think of scavenging as a modern form of self-reliance.” (pg 7)
“Some material things are white elephants that eat up the possessor’s substance.
Transience of material being.” (pg 8)
> While reading this article, i noticed a distinct connection between Eighner and his dog Lizebeth and a homeless street artist i came across in Shoreditch, East London.
John Dolan is one of East London’s most notorious artists. For three years Dolan sat every day with his dog George on Shoreditch High Street and documented the surrounding architecture, elevating the old, decrepit buildings that are so often ignored and under-appreciated. In the past, Dolan was in and out of prison and has experienced homelessness for the past 20 years.
Dolan would draw portraits of George as he sat beside him, and began to sell these drawings to the people he saw walk up and down Shoreditch High Street every day. Dolan and George’s fame grew throughout the area and culminated in Dolan’s break out debut exhibition in September 2013 which focused on the artist’s expansive cityscapes and featured unique collaborations with international street artists.
Below is my own photo of John and George, taken around November and a selection of his many art works.
By Patrick Symmes
In the same way Eighner highlights the vast disparities of living with no means of‘wants’ just ‘needs’, Symmes representation of himself; an American journalist living ’30 days as a Cuban’ depicts those exact discrepancies, exacerbated by a culture in which exists entirely off self-sustainability and recyclable resources. In many ways, the article alludes to issues faced in a modern day society where consumers are consistently agitated by materialistic-hunger within culture of homogenous greed, heavily juxtaposed against that of a local Cuban who’s main goal in life is daily survival.
“Everything is fine now,” I told him, delirious with low blood sugar. “Even the prostitutes are giving me money.”
“They were worried about ice cream. In my experience, no one who is hungry craves ice cream.”
“Just as Cubans exploit loopholes to survive, I worked my obvious foreign- ness to my benefit, wandering that day in and out of fancy hotels few Cubans could enter.”
For our first int. seminar assignment, we were instructed to read a selection of Van Gough’s letters as well as a selected chapter from Foers, Moonwalking With Einstein. Then, i stumbled across a phrase i’d yet heard of in my schooling career, but would instantaneously become oh too familiar with.
Talking notes…
Initially, the task to this assignment wasn’t gaining the full understanding of the letters, or attempting to answer the question of ‘How do you find the smartest person in the world?’, but honestly, the challenge was wrapping my head around what exactly a talking note was.
It was with great difficulty and the assistance of fellow classmates that i eventually discovered the true meaning behind the expression and frankly i was underwhelmed.
They are simply notes you make for talking.
This letter ultimately provides a direct insight into the bleak and philosophical comprehensions of Gough, during the midst of what appears to be a dark and highly stressful period where the artist feels both repentant for the absence of a familial connection while dissatisfied by the extent of his artistic progress. In the repetition of his rhetorical questioning, Gough contemplates his purpose as both an emerging artist aswell as a devoured Rembrandt ideologist; expressing his concerns of “Wandering from Pillar to Post” for the remaining of his career. As such, the extended metaphor of a caged bird in Goughs final paragraphs, draws on highly optimistic tone to demonstrate the artist’s utter desperation for freedom and success while addressing the complexities of the underlying desire to live without objection.
Favourite Quotes:
“What the moulting season is for birds…misfortune and hard times are for us human beings.” (Page 1, Para 3)
“What is known as the soul never dies, but lives on for ever” (Page 2, Para 3)
“Wandering from pillar to post/ the future looks rather bleak…” (Page 2, Para 7)
“Much as the rough draught turns into a sketch” (Page 3, Para 4)
“What am I good for, could I not be of service or use in some way, how can I become more knowledgeable and study some subject or other in depth?” (Page 3, Para 7)
“I am good for something! My existence is not without reason!” (Page 6, Para 4)
“Do you know what makes the prison disappear? Every deep, genuine affection.” (Page 7, Para 4)
“Brains are notoriously trickier to quantify than Brawn” (Page 6, Para 2)
“our culture consistently inundates us with new information, and yet our brains capture so little of it” (Page 7, para 1)
“to the extent that the sum of our memories and wisdom the sum of experience, having a better memory would not only mean knowing more about the world, but also more about myself “ (page 7, para 1)
“our culture is an edifice built of externalized memories” (pg 19, para 1)
‘The Art And Science of Remembering Everything” essentially highlights the dual complexities of a westernized culture that, in reality, has become entirely reliant upon an ‘externalised memory.’ From ‘literature, music, law, politics, science and math’ (pg 19), the revolution of human intelligence is ultimately depicted in its limitation, as Foer juxtaposes the brilliance of ‘Mental athletes’ and the predicaments of a modern society that purely exists as constitution of documented knowledge. Further, the reading abundantly clarifies a somewhat overlooked notion about the way memory and the human brain is perceived. Through a repetition of questioning and revelation, the author underlines concerns about the spontaneity and inconsistency of memory as well as it’s true capabilities.