Knox Reflections

1. The artworks that had an impact on me:

• Tara Donovan's Untitled (Mylar) piece kept me thinking. I couldn't get the image of this work out of my head. This piece is spread out on the floor, composed of half black spheres shoved together like some kind of space-age weed. This piece is different, it sticks out in my head as being unusual. The material used contributes a lot to its uniqueness. The material does not feel precious but something that can handle manipulation and does not have to be treated delicately. I could be completely wrong about that, but the quality of the material is what makes the piece seem real to me. By real I mean something the average viewer experiences on a regular basis, probably in a more functional form but it some how makes the piece easier to relate to.
  
• Polly Apfelbaum's Reckless is right next to the above mentioned piece. This piece holds my attention because of the obvious time it took to make as well as the two dimensional variation. I'm normally not so attracted to things that seem psychedelic but the craftsmanship is overwhelming. I really appreciate the artist's ability to construct each object individually all the while being able to see how all those pieces would all come together.
• Ingrid Calame's line drawings made more of a negative impact on me. I would have immediately walked out of the room had I not read the description on the wall. The large text seemed to be one of the only interesting things in the room. I felt that her final images did not convey her concept. It seems that the line drawings were forced, like the idea came as an afterthought or a means to an end rather than creating from an internal thought or feeling. Visually they did not hold my attention and one just seemed very similar to the next.
  
• The piece Carcass of Beef by Chaim Soutine is another that really stays with me long after I've stood in front of it. The way the painter interprets the image expresses so much emotion. The gesture given by the brush and the drips left from the paint make me feel as if I was there watching this piece come to life. I normally don't get very excited about two dimensional work, I have a pretty strong bias but this piece works very well. The artist has obvious talent and a mastery of his medium.
• Close to the piece above is Max Beckmann's Hotel Lobby. The visual depth of this piece is what entices my eye. It is obvious that there is a lot happening in this scene and the work even consumes the viewer. I really admire the artist's ability to allude so much space in a constricted area.
  

2. The artworks I felt a connection with:

• Ellen Gallagher's Bubbel on the second floor pulled on a childhood heart string. This piece is very playful. The entire canvas is covered with lined paper that is identical to the paper I used as a child to learn how to print and to write cursive. The bubbles echo childhood for a few reasons, the fact that bath time was quite a big deal and my personal obsession with blowing bubbles.
• Ken Price's Whitney piece is made of clay. It is not very often that ceramic work is on display at the Albright. The form of this piece reminds me a lot of a women I spent four years with in the ceramics studio. She explores very similar shapes in her work but has a completely different surface approach. I really enjoy the painted surface since some of my teachers adamantly argued this is not an appropriate way to finish a ceramic piece.
• Jorge Pardo's Untitled glass and aluminum pieces are really beautiful. Their functional aspect makes me think I would love to have them hanging in my own home. The description on the wall talks about the use of light is very concept driven which I have attempted in my own work, although definitely not as successful.
• Vincent van Gogh's The Old Mill always makes me think of my father. Although my dad never took an art class in his life he would describe to me for hours how amazing van Gogh's work is and why. Seeing his work in person is quite the experience since each brush stroke is seen and the work becomes that much more personal.
• Giorgio de Chirico's The Anguish of Departure also really sticks out to me. I have visited Italy twice within the last two years and each moment there was the opposite of what the painting portrays. The hollow empty feeling conveyed is fascinating. This is exactly how I would visually describe leaving the bustling piazza's of Italy.

3. The artworks I would like to learn more about:

• Teresita Fernandez's Double Orange Climber is similar in function as the works of Tara Donovan and Polly Apfelbaum on the other side of the wall. As a modern depiction or interpretation of the beauty of the natural world. I am just very curious as to how the piece was made. I'm assuming it was cut by some machine, but with what technology? Maybe laser? I would also like to know what kind of paint was used.
• Mittal Steel No. 1 Shipping 192-208 was installed by a group of artists. The placement of the numbers on the wall make me think of a conveyor belt in a factory. It consumes the space the same way I think about presenting my own work. I would like to know the story behind this creation because there certainly seems to be one.
• Heather McGill's work, Untitled, is pigment on laser-cut paper. When the piece is viewed up close it is a completely different experience. The image echoes DNA structure. I'd like to know her thought process behind this piece and how she came across it. It makes me think of sacred geometry.
• The Inverted Sink by Robert Gober is pretty funny to me. While looking at this piece I really want to attach a faucet somewhere and see how it works. I'm curious about the purpose of this piece. What was the artist thinking? What does his other work look like? Does he normally use household objects or does he focus more on ideas and a sink just happened to be appropriate?
• Tom Wesselmann's Still life #20 is a great mixed media work. I would really like to know the initial reaction to this piece. Was it accepted by the critics? What was the purpose of incorporating Mondrian's work? Did this upset the viewer's at the time or was it done as an homage to Mondrian?