Self Portrait Imagery

http://www.artnet.com/Magazine/reviews/karlins/Images/karlins2-23-2.jpg

http://www.smh.com.au/ffximage/2007/12/19/Mapping_071219024913107_wideweb__300x375.jpg

The above links will take you to two different sculptural self portraits. The first is done by Robert Arneson, a ceramic artist and the second is by Tim Hawkinson. The second is titled "Ballon, Self-Portrait #4" and is made out of latex. I am very drawn to both of these images.

The overall mood of Arneson's work is very interesting, everything works together while truly highlighting individual aspects of the piece. Arneson chooses to realistically portray himself but the facial expression shows that he can be lighthearted and isn't always so serious. Is something I share and would like to show in my own self portrait.

This is my first time seeing Tim Hawkinson's work. This self portrait is non-specific and when viewing this piece I assume it is to convey a feeling or idea that is experienced by the artist on a personal level but is something that many people can relate to. I like that something that is so personal can shared on a universal level. To me the work describes something that a lot of people can relate to, this is something that I would also like to capture in my self portrait.

Elements & Principle Slideshow

http://s991.photobucket.com/albums/af37/drentm58/?action=view¤t=b0649ad3.pbw

I know for the example slide-show that was given the link does not take you to a page with a bunch of stuff in the background. I'm not quite sure how to do this, the link I posted is the only way I am able to view the show. Other than that putting together the slide-show was very easy and these exercise was a really helpful way to reflect on the elements and principles.

InDesign Videos

Before watching these videos I did not even know what Adobe InDesign was. So I learned the very basics of the program and that it is used for editing or creating graphic design work as well as professional literature. I learned the difference between the black and white selection tool and that you can crop on an angle. I did not retain much information from the working with text video because I had nothing to connect the information to and did not understand the reasons behind the editing he did. The text style short cuts were helpful and seem to be a useful time saver. The first part of the bullet and numbering video seemed very familiar to how those options work in word but the different bullet levels and numbering across unthreaded frames was way over my head. The text wrap demonstration also seems like it would be very helpful and I would like to try it.

The video about making selections was the most helpful because this is something I would utilize a lot in this program. I can't think of anything right now that I would use this program for where I would need to know more advanced ways of manipulating text.

I felt that I got the most out of the demonstrations by Anne-Marie Conception. This is partly due to me finding the information she discussed most relevant. Her speech pattern, the tone of her voice, and the pauses she took made it much easier to follow. David Blatner said a lot of information in a short time and I had a little trouble keeping up, his voice sounded very rushed. Terry White and Colin Fleming were a little easier to listen to.

Logo Design Help

While browsing I found this website click . There are some great examples of how shapes are manipulated in order to represent multiple meanings. I don't have very much experience with 2-D design so seeing these really helped give me some ideas of how to experiment visually, combining concepts.

Helpful site for Lesson Plan #1

http://www.lifestreamcenter.net/DrB/Lessons/phyla/index.htm

This is a link to a high school biology WebQuest. I found this while exploring the site and it helped to generate ideas for what my lesson will involve.

The WebQuest takes a very complex concept in science and breaks it down into simple steps so that the students can discover the information on their own. I immediately related this to how Tara Donovan works. Mimicking the building structures in nature she will build in a similar manner with unnatural materials. Before this happens she must understand the natural process that occurs.

I will use this WebQuest as a reference when I design my own that will require students to discover how natural structures grow, break down the process, and apply it to their own art making.

#1 Lab Project

http://www.microsoft.com/mac/help.mspx?target=65624234-2b72-4270-8498-febd55d95d601033&clr=99-3-0&parentid=059cce10-0d94-4407-8575-0eb78a132d691033&ep=7&CTT=Category&MODE=pv&locale=en-US&usid=04d58286-4fce-4837-8046-cf499528094f

While browsing this resource I thought learning how to create my own template would be the most helpful. It was difficult for me to follow step by step since the resource was referring to powerpoint version 2008 and mine is a little older, but it guided me through some options I didn't know existed. I normally like to fumble around with something new, make my own mistakes and discover new information. Having this site to refer to helped me do that as well as pushing me further than I would've ventured without it.

The advantage of being able to extensively alter the template is to present something that is truly visually cohesive. Taking this into consideration when presenting an art class with a new artist or other art idea demonstrates how versatile the design elements are. It is also important for a teacher to display this technique, showing their own understanding of art. As an art teacher I hope to reassure my students that I have knowledge that is worthwhile to them.

I choose to design a template that reflects my interpretation of the artist, Tara Donovan, and what she hopes to achieve with her work. The choices I made will hopefully reflect a modern interpretation of natural objects.

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?