Lynda Barry comic above — as a note, I have been thinking how crowded my head is. It’s not a new state for my head, but it is a new realization that perhaps being lonely\/isolated causes the crowding to increase — lack of escape and all.<\/p>\n
I particularly like that Paul Chan’s work is multi-disciplinary and his inclusion of a self imposed, self aware hiatus. The combination of charcoal drawings, documentaries, theatre work, conceptual typefaces, and computer animations represents the reality of a contemporary artists, artists who no longer are bound to training in a given medium. But only because it is one of any number of choices, not because a bond with a medium is inappropriate.<\/p>\n
I am excited to see The Clock during extended hours, both curious of the content itself, but also to see who visits, how many visit, and their reactions. I am curious if the MFA will post the number of attendees for each of the four overnights as it would be interesting to have statistics on the trends such as whether more people came the first and last nights or how long people generally stayed. I am also curious if there will be other pieces on show\/accessible during that time and if people will only view The Clock or whether they will interact with other elements in the museum. I am very focused on this aspect of the project, but I am curious how my focus or interest will change when I am actually able to view the work — will I be moved by the piece? Will I identify in some way? Will it blur the lines between the fictional and realit<\/strong>y because of the time connection?<\/p>\n Again, the backdrop of multi-disciplinary brings about a connection for me to Marclay’s work. While winning awards for The Clock, and recognition in other circles for his audio art’s messages, it is interesting to me that he was featured on the extras of Scratch where I had seen his collaborative piece but had not known who he was outside of that kind of work.<\/p>\n It is just as important to understand what and why something does not work for you as it is to understand what does. So far the various McCarthy works have all been failures on me. This is to be expected, to find work that simply will never resonate with me\/you, but always the ability to say, “ah yes, his forward attacks are his most powerful and he will continue to catch his smaller opponents off guard and off balance.” The appeal, the connection that he can make, makes sense, there simply is not a path provided to me in this network.<\/p>\n The Sever house is right up my alley, specifically because his original obsession was viewing paintings and then imagining the world beyond, the light and moods of the visible framed area suggestive of ‘other’ which might lay outside it. I also like his efforts to transport viewers to another time, to make that experience convincing, and to bring that world to the ‘now’. The identification from early childhood with England, past England even, is very significant to me. His work\/vision being described as holistic and “almost spiritual.” His “empathy with objects and places, to tell a fictional, true story ‘aimed at those who want to make sense of the whole picture of being alive’,” is indeed a shared thought process between us.<\/p>\n Like people, specific pieces or specific artist’s styles can grow on me. Though I cannot remove the visual from my understanding and connection to a piece, I can let other elements absorb and re-colour the original visual elements. Like nearly everyone, I have an initial response to the visual say of a person I see\u00a0for the first time. I may even go on to like the person within that first encounter, but simultaneously note a visual ugliness. If we remain friends for a time, becoming good friends eventually, I will _always_ find them visually attractive regardless of how I would originally categorize them. This works on all things visual with which I have a relationship, with which I connect to other elements. In part because the aesthetics of anything are only learned for me, and I can unlearn them, I can relearn them, and I can overlearn them. Still, if the viewed does not have another form of appeal, then there is appeal at all, just as with a person who I may initially find beautiful can become unattractive via other means than the visual over time. Anyway, Roz Chast’s work is not initially visually appealing to me, but her pysanka [Ukrainian wax-resist egg art] offers a connection that brings a relearning. I love pysanka and I am already drawn to her color choices, scale, human as subject matter in these pieces. In the same way, I once found a table on a cruise ship with celebrity caricatures all over it and spent a wonderful evening guessing them with D and another couple. I loved them not because they were my style, but because now I could not see them as anything other than appealing. It turns out they were RS Sherrifs Punch cartoons — I looked them up as soon as I got back to the US.<\/p>\n And so the act and role of the viewer are never lost on me. That’s what makes the feedback of my own art so valuable — it’s the act of catching the ‘others like me’ — it’s my chance to experience again. There is creation, there is viewing, and then there is the ‘viewing’ of viewing. As an artist I can create, I can view others’ work, I can view my own work, and I can view others viewing my work. Can I view myself viewing other work? And view myself viewing my own work? And what of making my work based on myself viewing others viewing my own work?<\/strong><\/span><\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" Lynda Barry comic above — as a note, I have been thinking how […]<\/p>\n","protected":false},"author":1,"featured_media":67,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-65","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-thoughts"],"_links":{"self":[{"href":"https:\/\/ulm.taddug.com\/index.php\/wp-json\/wp\/v2\/posts\/65","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ulm.taddug.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ulm.taddug.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ulm.taddug.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ulm.taddug.com\/index.php\/wp-json\/wp\/v2\/comments?post=65"}],"version-history":[{"count":2,"href":"https:\/\/ulm.taddug.com\/index.php\/wp-json\/wp\/v2\/posts\/65\/revisions"}],"predecessor-version":[{"id":68,"href":"https:\/\/ulm.taddug.com\/index.php\/wp-json\/wp\/v2\/posts\/65\/revisions\/68"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ulm.taddug.com\/index.php\/wp-json\/wp\/v2\/media\/67"}],"wp:attachment":[{"href":"https:\/\/ulm.taddug.com\/index.php\/wp-json\/wp\/v2\/media?parent=65"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ulm.taddug.com\/index.php\/wp-json\/wp\/v2\/categories?post=65"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ulm.taddug.com\/index.php\/wp-json\/wp\/v2\/tags?post=65"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}