Jie-Liang Lin, Joey Cocciardi "Paintings on Wall" April 2, 2008

This post is from April 2, 2008

Joey Cocciardi

Jie-Liang Lin

Jennifer Heffernan "Untitled" 2008 from Project in Drawing class: "Drawing as Infinite Sketches

For my reducing, erasing, etc. piece I decided right away that I wanted to use flowers or plants because they would very literally work with the idea of a piece which changed and diminished over time. Initially I had envisioned creating a piece in which the flowers would be arranged on one canvas in such a way that as they withered and died, their petals would fall onto another canvas, thus creating a new additional piece alongside the transformed original. After a couple attempts, however, getting the petals to fall off and create a seperate piece proved more difficult than I had imagined and so, as you can see in the pictures I changed my original idea somewhat.
To create this piece I cut holes in one canvas and slid individual flowers through them until I was satisfied with its aesthetic, and then fastened the stems downward along the backside of the canvas to keep them at an upright angle. I placed another canvas below to act as the "receiving" secondary piece and simply waited for the flowers to die.

Digital photography Summer 2008 IN CLASS: Photoshoot

Digital photography Summer 2008 Assignment 4: "Night Line 2"

Assignment 4: "Night Line 2"
1. Take portraits using the bulb shutter capturing the movement of light.
2. Highten the contrast, saturate the color, multiply images to create abstraction in post-production.

Digital photography Summer 2008 Assignment 3: "Night Line"

Assignment 3: "Night Line"
1. Take pictures using the bulb shutter capturing the movement of light.
2. Highten the contrast, saturate the color, multiply images to create abstraction in post-production.

Digital photography Summer 2008 Assignment 1: “The Art of Being contexualized:

Digital Photography, Summer 2008
M/W 12:30pm-4:40pm
Room Barney 401
Professor: Hiroshi Sunairi

About Nikki S. Lee (Korean/American, b. 1970)

After observing particular subcultures and ethnic groups, Nikki S. Lee adopts their general style and attitude through dress, gesture, and posture, and then approaches the group in her new guise. She introduces herself as an artist (though not everyone believes her or takes it seriously), and then spends several weeks participating in the group’s routine activities and social events while a friend or member of the group photographs her with an ordinary automatic “snapshot” camera. Lee maintains control of the final image, however, insofar as she chooses when to ask for a picture and edits what photographs will eventually be displayed.

From schoolgirl to senior citizen, punk to yuppie, rural white American to urban Hispanic, Lee’s personas traverse age, lifestyle, and culture. Part sociologist and part performance artist, Lee infiltrates these groups so convincingly that in individual photographs it is difficult to distinguish her from the crowd. However, when photographs from the projects are grouped together, it is Lee’s own Korean ethnicity, drawn like a thread through each scenario, which reveals her subtle ruse.

Lee’s projects propose questions regarding identity and social behavior. Do we choose our social groups consciously? How are we identified by other people? Is it possible for us to move between cultures? Lee believes that “essentially life itself is a performance. When we change our clothes to alter our appearance, the real act is the transformation of our way of expression—the outward expression of our psyche.

— Kendra Greene

Niki S. Lee
http://www.mocp.org/collections/permanent/lee_nikki_s.php
http://www.tonkonow.com/lee.html

Assignment 1:
“The Art of Being contexualized:

This assignment is to create a self-portrait in a fictional place. This assignment will be executed in a final process by learning Photoshop during the class time. But, to do so, please prepare following 2 steps.

1. Found Images (*1): Please choose three location photos related to each other (you can choose images of places from magazine (any magazine for example, National Geographic), old photographs, travel books, history books.

2. Take digital photos of yourself dressed as being contexualized:

Dress Code & Culture
Please dress yourself adjusting to particular subcultures, ethnic groups, or situation. Please adopt their general style and attitude through dress, gesture, and posture.

Light
Please shoot your image adjusting to the lighting situation of the location photos you have chosen, in terms of the directions of light: up, down, or sideways.

3. Please use three images as a clue of narrative structure to evolve yourself and your role in the photograph from bystander, insider.

*1. Found object (From Wikipedia, the free encyclopedia)

A found object, in an artistic sense, indicates the use of an object which has not been designed for an artistic purpose, but which exists for another purpose already. Found objects may exist either as utilitarian, manufactured items, or things (including, at times, dead bodies), which occur in nature. In both cases the objects are discovered by the artist or musician to be capable of being employed in an artistic way, and are designated as "found" to distinguish them from purposely created items used in the art forms.

THE LAST ASSIGNMENT: DRAWING A PHYSICAL GESTURE from Project in Drawing class: "Drawing as Infinite Sketches of Ideas"

Project in Drawing class: "Drawing as Infinite Sketches of Ideas"

THE LAST ASSIGNMENT: DRAWING A PHYSICAL GESTURE

THEME 1: Body as a tool of drawing

"Zen for Head" Nam Jun Paik

In 'Zen for Head', Paik dips his head in paint and draws a line on paper
in this way connecting his radical action with Asiatic calligraphy.

THEME 2: Earth as a surface to draw

Robert Smithson "Spiral Jetty"

In 1970, Robert Smithson created Spiral Jetty in the water along the Northeast shore of the Great Salt Lake, Utah. Spiral Jetty involved moving more than 6 thousand tons of earth and stone to make a spiral form 1500 feet long. The form recalls the shape of salt crystals and microscopic organisms of the lake. Spiral jetty certainly has as its precedent the ancient earth mounds, like those in the Ohio region. Smithson leased 10 acres of land at the lake to make spiral Jetty. Smithson described his sensations about the site as "to suggest an immobile cyclone" and "A dormant earthquake spread into the fluttering stillness, into a spinning sensation without movement." From that the form of Spiral Jetty evolved. Smithson also learned of legend that described an underground channel that connected the Salt lake to the ocean at a point in the middle of the lake that revealed itself as a whirlpool. The metaphor of the spiral worked at microscopic scale, larger scale and at the level of folklore.

THEME 3: Sky as limitless void to fill
Walter De Maria “Lightning Field”1977

In 1968, Walter De Maria made a land drawing called Mile Long Drawing in the Mojave Desert, his first earthwork. De Maria's work was typically less permanent or less intrusive on the landscape than Michael Heizer's or Robert Smithson's - somewhat ecologically minded.In 1977, Walter De Maria created Lightning Field in New Mexico. Lightning field is a series of 400 stainless steel poles covering an area of one mile by approximately one kilometer. The tops of the poles are all at the same level, and the poles average a height of about 20 feet. The human population of the region is low and the incidence of lightning is high. The conditions were ideal to achieve a celebration of the power and magnificence of lightning.The grid form of the rods and the one mile dimension, mark the space and recall the grid that organizes much of the United States. The orientation of the tops of the rods gives reference to the shape/ or topography of the land below, and the organization brings the sky and earth together.

Cai Guo-Qiang

THEME 4: Drawing as poetic and political gesture

Francis Alys The Green Line Walk (2005)

In The Green Line (June 2004), Alÿs walked the Jerusalem Green Line, a 70 meters wide no mans land created by lines drawn on a map at the 1948 Armistice talks, when Israel and Jordan agreed a provisional border. Holding a can of green paint, he drips a thin line as he walks. Mapping his path, leaving a trace of his presence. He will not have been present but he will have made a gift by not disappearing without leaving a trace. But leaving a trace is also to leave it to abandon it not to insist upon it in a sign.

The last assignment is all performance/demonstration presentations during the class of Tuesday, April 29th. The critiqus for these performance/demonstration presentation will be done on-line at sunairionpedagogy.blogspot.com

The discussion will be done by commenting on the works and everyone has to comment on his/her own works as well as at least one time for every artists’ works.