Satirical art criticizes individuals or society by being "savagely observant" as Bird puts it. Satire usually has a heavily partisan emphasis about whatever subject matter it is taking on. It is also usually harshly judgmental and often intended to be comical.
Though I do enjoy some satire like Stephen Colbert (I am not nearly as dedicated of a fan as Kathy) other times I think that it can be overly judgmental. Bird gives Hanson's Supermarket Shopper as an example of satire. To me this piece seems really mean. I don't think we should laugh at and make fun of people that are different from us and have different values, which it seems like Hanson's piece is doing.
In my own work I think I could find ways to use satire appropriately. When satire is aimed at political situations and used to address social justice issues I think that it can be particularly poignant. I had previously discussed using satire in a social justice piece relating to "the new norm" of family structures. I think that simply swapping out people into situations that you wouldn't expect and juxtaposing 1950's family imagery could create interesting satirical pieces. I recently had been thinking about creating these scenes through doll houses and paper dolls. I think that this also has an interesting link to how we teach children these values and views of the world very early on in life and through seemingly harmless avenues like cartoons, dolls, and books. I think that I am strongly drawn to this idea, but I am unsure if I have the technical skills to succeed in this type of artistic undertaking.
Thursday, February 7, 2013
Tuesday, February 5, 2013
Idea No. 77 Expressing Inner States
Bird's discussion of "Expressing Inner States" begins by saying that art has been used to bring the unseen to light. He uses the example of religious art, such as, the face of Jesus or Buddah. He says that artists took on a new role of putting an image to what the public could not see for themselves. Painters also used the idea of expressing inner states in a more personal way. Similar to how Bird presented the unconscious he says that artists like Kandinsky were using their art to communicate inner desires. Later this developed into more of a reflection of the artist's life and experiences or society, like the work of Chagall.
I love the work of Chagall and I love the idea of looking at how my life fits with in society. I think that exploring these types of ideas and being aware of one's place or impact on the world can be very reflective and reaffirming. This type of reflection can also lead us to finding direction and setting goals. I think these ideas could be the basis for an interesting lesson plan for high school students.
I love the work of Chagall and I love the idea of looking at how my life fits with in society. I think that exploring these types of ideas and being aware of one's place or impact on the world can be very reflective and reaffirming. This type of reflection can also lead us to finding direction and setting goals. I think these ideas could be the basis for an interesting lesson plan for high school students.
Idea No. 66 Unconcious
Many of the ideas behind art as it relates to the unconscious come from the writings of Sigmund Freud. He advanced that there are hidden regions of the mind called the unconscious and dreams are manifestations of our unconscious thoughts and desires. As the work of Freud became more popular and well know some artists purposed a theory that confronting one's unconscious desires could lead to enlightenment and cure societies problems. These ideas fueled artists such as Dali and Picaso and resulted in much of the dream like like imagery contained in their work.
Though I do not currenty plan to explore any dreamlike ideas in my work I think that the unconscious certainly influences my work in other less direct ways. The way I was raised and experiences that I had as a child can't help but influence my artistic interests and what I choose to explore in my artwork. I have a fascination with personal history and memories. I feel that childhood memories often feel a bit like dreams, in that things have become distorted by time. I would guess that according to Freud the unconscious can't help but affect my artwork.
Though I do not currenty plan to explore any dreamlike ideas in my work I think that the unconscious certainly influences my work in other less direct ways. The way I was raised and experiences that I had as a child can't help but influence my artistic interests and what I choose to explore in my artwork. I have a fascination with personal history and memories. I feel that childhood memories often feel a bit like dreams, in that things have become distorted by time. I would guess that according to Freud the unconscious can't help but affect my artwork.
Sunday, February 3, 2013
Idea No. 68 Multiple Viewpoints
Michael Bird says that the idea of multiple viewpoints was advanced in the early twentieth century by artists such as Pablo Picaso who broke down linear perspective and did away with fixed spatial relationships. Photography strategies like double exposures made people realize that seeing is not usually like a single view through a window, but rather involves movement and seeing from multiple viewpoints. Artists began to play with how we see and make sense of scenes. Cubist paintings developed simultaneous multiple viewpoints.
The multiple viewpoint work of David Hockney is something that I would like to look into further. The idea of looking at things from multiple viewpoints both figuratively and literally intrigues me. There is always more than one side to a story or idea. I think that Hockney's Celia's Children, is a really visually interesting way of saying this. In what ways could I make this style my own? I think that collage would also be a fascinating way to show this type of fragmentation. Maybe I could explore photo collage rather than a more traditional idea of collage.
The multiple viewpoint work of David Hockney is something that I would like to look into further. The idea of looking at things from multiple viewpoints both figuratively and literally intrigues me. There is always more than one side to a story or idea. I think that Hockney's Celia's Children, is a really visually interesting way of saying this. In what ways could I make this style my own? I think that collage would also be a fascinating way to show this type of fragmentation. Maybe I could explore photo collage rather than a more traditional idea of collage.
Seven Principles for Visual Culture Education
Much like Oliva Gude, Paul Duncum has noticed how lacking the old school formal elements and principles of art are in our contemporary society. He has developed a new set of seven principles that address not only fine art but popular culture as well. However, he feels that his principles are not expected to be viewed as fundamental truths (like the previous elements and principles), but rather a guide by which to understand our visually complex society.
1) Power
All images contain messages of power, though likely not in an overt manner. The imagery we consume has an agenda. Typically, mainstream avenues present the ideologies of those with the most power. Often times visual culture communicates values and ideas about important social issues such as race, gender and sexual orientation, which is influenced by the power of the creators. However, the viewer is not passive. They have power too. They can choose what messages to take in and what to ignore.
This has caused me to think critically about my position of power as a teacher. Though it is a little scary to think about teachers as having power over their students, the choices we make about what ideas to explore, which artists to present and how we speak about art is a form of power. Though it is ideal to allow students to have as much control over their own learning, it is important to recognize this power and continually think critically about it.
2) Ideology
The idea of ideology overlaps a lot with power, as the ideologies of those who hold the most power are most frequently seen in the visual culture of our society. We hold social assumptions about right and wrong, and who we are. Ideologies are presented as answers to these issues. These presented ideologies can marginalize certain people through racism, sexism, homophobia, etc. We must examine our our assumptions and recognize that visual culture is representing just one view point with it's own particular agenda.
I have recently been considering topics with in my own artwork dealing with changing family structures. Even the acknowledgment that family structures are changing contains ideological implications. Duncum reminds me to look at my own assumptions critically.
3) Representation
Representation is a close parallel with the principles of power and ideology. In my opinion all three probably could have been lumped together, as they are so enmeshed that it is difficult find the separations between them with out referring to another. Representation deals with the what and how images are depicted, along with what is not depicted and what is marginalized. Duncum discusses how the angle of the view, the framing of an image, body language, expression, physical contact and gaze of the figure affect the meaning of an image. Also under the umbrella of representation he considers how stereotypes are presented and strengthened in visual culture. He reminds us that stereotypes marginalize because it "denies complexity."
This brings up a question for me. Is it truly possible to ever dissolve sterotypes in our artwork? Though they can certainly be dangerous they also serve as a mental organization of society. Is it more important to just recognize that stereotypes are present?
4) Seduction
The sensory experience of images make them naturally seductive to us. We are drawn in by beauty, cuteness, romance, coolness, kitch, sentimentality, to name a few. Some people are also drawn to violence and the grotesque. All of these attractions can play into the desires of our subconscious and even taboo pleasures according to Duncum. I would argue that I am less drawn to certain styles due to unconscious desires but rather by marketing and branding that as helped me to construct a personally identity that is strikingly similar to the preformed identities of many other females, especially in my age and socioeconomic group.
Duncum wrote "Students report that sometimes they are conflicted over enjoying the sensory qualities of a cultural form and objecting to its ideology." I can relate to this. For example, I am drawn in by Victoria Secret's marketing. I think those women are so sexy and beautiful. I want to look like them. I want to confidently display my sexuality like them. However, at the same time it's hard to argue that their images do not in some way objectify women and present them very one dimensionally.
5) Gaze
Duncum defines the gaze as "how we look at images and the circumstances under which we look." This is affected by ethnicity, age, class, gender etc. He also identifies a the heterosexual gaze and queer gaze can objectify and disempower. Discussions of the gaze in art does not only apply to the figures in the art but also the viewers gaze.
6) Intertextuality
In our information and visually driven culture images often draw from other cultural sources. An image or topic can connect to so many other topics with in our culture, which can in turn connect to many more. These connections can be made by the creator or the viewer. Duncum used the example of American Idol and had students create a web illustrating its connections to celebrity, democracy and abnormality.
I think the web that he had students create would be a wonderful way of discussing several of these principles with students. The web activity also seems that it would be a simple and direct way to display the somewhat complex idea of intertextuality to younger students.
7) Multi-modality
Duncum's principle of multi-modality refers to the idea that an image is never just an image to the viewer. There is always other sensory information being presented alongside it. This is most clearly seen in how a score can affect a movie scene. Our brains have been programed to understand these multi-modalities together and use them to create meaning. Duncum displayed this for this students by having them look at magazine ads in other languages and T.V. with the sound off. This helps us to understand how these other elements like sound or type can affect the context and meaning of the visual information.
I feel that this idea is also made clear in the contemporary art world when we look at artist like Kara Walker who has worked with round rooms and projection set ups that purposefully project the viewer into the work. Or installations that also include soundtracks that are played with in the room or are lit with different colors. This types of conscious decsions made by artists emphasize the impact outside factors on the images we view.
Though in my opinion Duncum's list of principles could use some tweaking and re-thinking I also think that it is very valid that he sees the need for a new set of ideas by which to organize and structure curriculum in the world of 21st century art education. We must be sure that our academic frameworks are structured to best prepare our students to be critical thinkers and self regulating learners. It is clear that the old elements and principles are not serving this purpose any longer.
I had planned on using the Super Bowl half-time show as one of my clips. However, we already discussed it a little in class, and in the hallway before class. I think that this Super Bowl commercial might be a bit more overt in it's connection to Duncum's principles.
1) Two Broke Girls Promo: http://www.youtube.com/watch?v=gVNh6dyV3fM
2)
1) Power
All images contain messages of power, though likely not in an overt manner. The imagery we consume has an agenda. Typically, mainstream avenues present the ideologies of those with the most power. Often times visual culture communicates values and ideas about important social issues such as race, gender and sexual orientation, which is influenced by the power of the creators. However, the viewer is not passive. They have power too. They can choose what messages to take in and what to ignore.
This has caused me to think critically about my position of power as a teacher. Though it is a little scary to think about teachers as having power over their students, the choices we make about what ideas to explore, which artists to present and how we speak about art is a form of power. Though it is ideal to allow students to have as much control over their own learning, it is important to recognize this power and continually think critically about it.
2) Ideology
The idea of ideology overlaps a lot with power, as the ideologies of those who hold the most power are most frequently seen in the visual culture of our society. We hold social assumptions about right and wrong, and who we are. Ideologies are presented as answers to these issues. These presented ideologies can marginalize certain people through racism, sexism, homophobia, etc. We must examine our our assumptions and recognize that visual culture is representing just one view point with it's own particular agenda.
I have recently been considering topics with in my own artwork dealing with changing family structures. Even the acknowledgment that family structures are changing contains ideological implications. Duncum reminds me to look at my own assumptions critically.
3) Representation
Representation is a close parallel with the principles of power and ideology. In my opinion all three probably could have been lumped together, as they are so enmeshed that it is difficult find the separations between them with out referring to another. Representation deals with the what and how images are depicted, along with what is not depicted and what is marginalized. Duncum discusses how the angle of the view, the framing of an image, body language, expression, physical contact and gaze of the figure affect the meaning of an image. Also under the umbrella of representation he considers how stereotypes are presented and strengthened in visual culture. He reminds us that stereotypes marginalize because it "denies complexity."
This brings up a question for me. Is it truly possible to ever dissolve sterotypes in our artwork? Though they can certainly be dangerous they also serve as a mental organization of society. Is it more important to just recognize that stereotypes are present?
4) Seduction
The sensory experience of images make them naturally seductive to us. We are drawn in by beauty, cuteness, romance, coolness, kitch, sentimentality, to name a few. Some people are also drawn to violence and the grotesque. All of these attractions can play into the desires of our subconscious and even taboo pleasures according to Duncum. I would argue that I am less drawn to certain styles due to unconscious desires but rather by marketing and branding that as helped me to construct a personally identity that is strikingly similar to the preformed identities of many other females, especially in my age and socioeconomic group.
Duncum wrote "Students report that sometimes they are conflicted over enjoying the sensory qualities of a cultural form and objecting to its ideology." I can relate to this. For example, I am drawn in by Victoria Secret's marketing. I think those women are so sexy and beautiful. I want to look like them. I want to confidently display my sexuality like them. However, at the same time it's hard to argue that their images do not in some way objectify women and present them very one dimensionally.
5) Gaze
Duncum defines the gaze as "how we look at images and the circumstances under which we look." This is affected by ethnicity, age, class, gender etc. He also identifies a the heterosexual gaze and queer gaze can objectify and disempower. Discussions of the gaze in art does not only apply to the figures in the art but also the viewers gaze.
6) Intertextuality
In our information and visually driven culture images often draw from other cultural sources. An image or topic can connect to so many other topics with in our culture, which can in turn connect to many more. These connections can be made by the creator or the viewer. Duncum used the example of American Idol and had students create a web illustrating its connections to celebrity, democracy and abnormality.
I think the web that he had students create would be a wonderful way of discussing several of these principles with students. The web activity also seems that it would be a simple and direct way to display the somewhat complex idea of intertextuality to younger students.
7) Multi-modality
Duncum's principle of multi-modality refers to the idea that an image is never just an image to the viewer. There is always other sensory information being presented alongside it. This is most clearly seen in how a score can affect a movie scene. Our brains have been programed to understand these multi-modalities together and use them to create meaning. Duncum displayed this for this students by having them look at magazine ads in other languages and T.V. with the sound off. This helps us to understand how these other elements like sound or type can affect the context and meaning of the visual information.
I feel that this idea is also made clear in the contemporary art world when we look at artist like Kara Walker who has worked with round rooms and projection set ups that purposefully project the viewer into the work. Or installations that also include soundtracks that are played with in the room or are lit with different colors. This types of conscious decsions made by artists emphasize the impact outside factors on the images we view.
Though in my opinion Duncum's list of principles could use some tweaking and re-thinking I also think that it is very valid that he sees the need for a new set of ideas by which to organize and structure curriculum in the world of 21st century art education. We must be sure that our academic frameworks are structured to best prepare our students to be critical thinkers and self regulating learners. It is clear that the old elements and principles are not serving this purpose any longer.
I had planned on using the Super Bowl half-time show as one of my clips. However, we already discussed it a little in class, and in the hallway before class. I think that this Super Bowl commercial might be a bit more overt in it's connection to Duncum's principles.
1) Two Broke Girls Promo: http://www.youtube.com/watch?v=gVNh6dyV3fM
2)
Saturday, February 2, 2013
Introduction...Oppsie:)
I somehow totally missed the blog post assignment from the first day of class. So here it is. Better late than never:/
This cheeserific image really does represent me and where I am in my "artistic journey." My art background is pretty different from a lot of the other members of this class, in that I have a lot less studio experience. You have probably already figured out that I am a little self conscience about this. I took two years of photography in high school and loved it. However, I graduated in 2001 (which feels like 100 years ago) and I barely remember most of it. Since high school I continued photography as a casual hobby off and on. I got my undergraduate degree in advertising. The program I was in did not emphasize the design part of it too much. I took 2-D and 3-D design and a few art history classes. The advertising program I was in really focused on concepts. I never took a single graphic design class. I taught myself the adobe programs, to at least a functional level. I worked for several years as an art director or designer. I eventually got so sick of looking at computer screens and taking direction from clients that I thought I might snap. When I left advertising I worked for a few years as a pharmacy technician in a hospital in downtown Chicago (because I had an in to get me the job), while trying to find my passion. I eventually decided I wanted to teach, and Kathy convinced me that MU art ed was the place for me. (My first choice had originally been the University of Oregon and in the end I didn't even apply there...only Mizzou).
So short story long, now I am doing a bunch of post-bac work while getting my Masters. So far I have taken Intro Fibers, Drawing 1, and am currently in Drawing 2. This image is from my Drawing 1 class. I didn't think I could draw and I was really happy with how well this came out. However, I HATED this assignment. I was forced to painstakingly work on a gridded, realistic drawing of my giant face that had no meaning to me. It really drove home the point about providing rich art making opportunities that allow for personal meaning making. So I don't know my process, content or medium yet. On one side I have struggled with my decision to take this class now because I wonder if I should have more studio experience first, but on the other hand I think having this class first might prepare me to make the most of my future studio classes. I hope the latter is true.
Idea List Continued
28. The things we carry- what the objects in our pockets say about us, society. What stories do they tell? Pockets and purses as portraits
29. Food - attitudes towards food - Healthy and unhealthy relationships
30. Gender roles- the way and why we teach these to kids
31. Different ideas of heaven - no heaven, dog heaven, clouds, people, only God, What do others think it looks like - how different religions depict heaven
32. unconditional love
33. self confidence
34. chronic physical pain - how would pain look - what you imagine doing to remove it
35. escaping stress
36. longing - missing - goodbyes
37. birth and pregnancy
38. water - sources - uses
39. Knowledge and memory - what would it look like inside our brain - how we store it
40. intense memories - moments where every second and every sense seems burned into your brain
41. personification of inanimate objects
42. family heirlooms - passing down precious things
43. alcoholism and drug abuse
44. social anxiety
45. scent affecting memories
46. time - how it seems to speed up and slow down
47. Separation - distance
48. Reciprocal counter positions
49. returning home
50. Protection
51. Adrenaline
52. Life through another persons eyes
53. Spying on people
29. Food - attitudes towards food - Healthy and unhealthy relationships
30. Gender roles- the way and why we teach these to kids
31. Different ideas of heaven - no heaven, dog heaven, clouds, people, only God, What do others think it looks like - how different religions depict heaven
32. unconditional love
33. self confidence
34. chronic physical pain - how would pain look - what you imagine doing to remove it
35. escaping stress
36. longing - missing - goodbyes
37. birth and pregnancy
38. water - sources - uses
39. Knowledge and memory - what would it look like inside our brain - how we store it
40. intense memories - moments where every second and every sense seems burned into your brain
41. personification of inanimate objects
42. family heirlooms - passing down precious things
43. alcoholism and drug abuse
44. social anxiety
45. scent affecting memories
46. time - how it seems to speed up and slow down
47. Separation - distance
48. Reciprocal counter positions
49. returning home
50. Protection
51. Adrenaline
52. Life through another persons eyes
53. Spying on people
Subscribe to:
Posts (Atom)