Good Questions

Finding answers…and finding more questions…a very good conversation with Oliver.

DRAWING: explore the doodling in your drawing/think about the “icky sweetness and gentle pathos” and the unconscious part of doodling/explore the diaristic aspect of the drawing – talk to Cesare about this/ Who is this sad character?/Catharsis process of drawing.

PHOTOGRAPHY: low brow content but technically sound images -keep that strength in the photographs/photographing something is a way of making it important, a way to elevate things. Photography as a way of making things important.

DRAWING AND PHOTOGRAPHY: maybe there is no need to separate the two/what is within the drawings that is also found in the photographs?/candybox colors, no browns, artificial colors.

KITSCH: a way of not directly addressing emotion/it could be a melodramatic way to deal with emotion/what is the relationship to what is true and genuine? How does one explore the artificial and distance without being artificial and distant?/Layers of distance/Kitsch offers so much but gives very little/ romanticism is cousin to kitsch (Fragonard and Bouchard)/visual equivalent to candy: short burst of thrill/research area for next paper rather than a comparative analysis – get a good understanding about kitsch, look at Clement Greenberg, Venturi and Goldstein.

ARTIFICIAL: cinema and special effects/back to Fragonard and Boucher/what about exploring that artificiality?/kitsch/candy.

NOSTALGIA: historical origins, medical terms of the word used to describe the homesick condition that soldiers felt. Bittersweet and a longing for things, persons or situations of the past.

ARTISTS: Jeff Koons, Carl Ostendrap, Sean Landers, Marilyn Minter, Odd Nerdrum, Sara Cwynar, Lisa Yuskavage, Sharon Core, Wayne Thiebaud (aware of over the top. love/hate).

VOCABULARY: think about the vocabulary in your work/the objects you use/what are the objects saying?

COLLECTING: Oliver is curating a show called “Influence” which examines the things that artists surround themselves with and he asked me about the stuff I collect. While it seems that most of the things I obsessively collect become part of my work – like the dolls, ceramic figurines, mirrors, he did ask me about the things that I collect and I love to have around me. What is my stuff? Things I collect that I love to have around me include: socks, anything rabbit, hands – novelties(ceramic, plastic and rubber), salt, missing person photographs, cute candy or make-up packaging, bread clips with expiry dates, and pictures of crying children. Some of these things are just dumb but I like them. (Is anybody reading this anyway?)

ENTRY POINTS: How? Not a lot of horizon lines in work/ think about the promise of photography and how it allows you to enter it/ the work denies entrance with no horizon and keeps the viewer out/ think about landscape and entry points/ seduce with blurring and softness, depth-of-field/explore ways to do that formally with deeper space/denial.

OTHER: advertising and dutch still-life/what is the relationship to my own work?

 

 

 

 

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