Artist Statement

I consider myself to be a digital artist and create work on my computer. I work mainly with Adobe Photoshop and Adobe Illustrator, but I am beginning to expand into the animation software Maya. I find it freeing to work in a 2D and 3D workspace, I am able anything and everything. My work tends to be more expressionistic due to my main focus on exploring myself. I tend to use the same images and techniques in my works because of the meaning they hold. I use keys and the idea of spirals in almost all of my works.

With my many medical conditions I use the imagery of keys as a way to illustrate how I am unlocking new things within myself. The spirals are a way for the viewer to find a focal point and also serve as a path from point to another. My work is meant to be healing and to also be a mirror into myself. With every work I make I find something new about myself and I find this to be very meditative.

Originally my work was therapeutic, but with time I used my feelings as inspirations for finding myself. One artist I really look to for inspiration is Joseph Beuys. He like myself dealt with hardships that changed his life and how he created work. He also uses the same materials over and over again to link it with his past. I also look to Jackson Pollock because of his amazing work with expressionism. I love the amount of emotion he puts into each work.

In today’s world society believes that we should all be superficial and my work tries to bring the emotional vulnerable side back into play. I think that it is important for people to dig deep within themselves instead of caring what others will think of you. I hope that my work can someday inspire people to think beyond the superficial.

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What Comes After Postmodernism?

 

Postmodernism is an art movement that I believe has ended died to the constant changes in our society. Although Postmodernism gave artists a new found freedom all other movements could not provide, it makes it difficult to find a new movement that fits todays standards. Irony and the denial of a grand narrative were some of the main ideas of the Postmodernists. After countless tragedies in the world, artists can no longer create works standing alone on the too cool for school ironic based attitude. Art needed to evolve and I believe it did.

Before the death of Postmodernism many artists worked against the grand narrative and with irony. Cindy Sherman is a great example of a postmodern artist. She does not play into the grand narrative, by using herself as both the model and the photographer. Sherman uses personas as a way to be kept objective in her involvement of the works. The fact that Sherman is a woman transforms her work to help the feminist agenda. This is ironic due to the fact that it was far from her intent for her works.

I believe that the artworld does need a Post-Postmodernism, but obviously with a new name. Metamodernism is a great fit for the new generation of artists. I think that in the aftermath of Postmodernism this is the only direction that makes sense for art to go. Metamodernism is similar to Postmodernism with necessary changes to keep with society’s modern day ideals. Just like Postmodernism, Metamodernism believes in the deconstructing of the grand narrative. Oppositely Metamodernism believes in not being ironic in a sense due to the seriousness of our society today.

Metamodernism is best described as a “modern enthusiasm and a Postmodern irony.” This means that Metamodernism takes from the modern day society to create works while using irony to critique its motivates of order and disorder. The practice of Metamodernism uses semiotics due to the fact that it “exposes itself through a-topic atopos (a place that is no place) taxis (order).” With the modern mindset of oneself as the center of the universe it makes sense that Metamodernism works with the theoretical framework of existentialism.

Metamodernism values many types of practices such as Performativism and Romantic Conceptualism to name a few. I believe that this new movement would encompass both expressionism and pluralism. This is due to the fact that a spaceless and placeless movement would rely on expression from the artist while dealing with the culture of the society of the time. An example of a Metamodern artist would be Kris Lemsalu. Lemsalu created installations based on various inspirations she wishes to comment on in society. She mainly uses ceramics and found materials for her works. Lemsalu’s works can be seen as ironic and a commentary on how she views the artworld.

"Kris Lemsalu." Temnikova & Kasela. N.p., n.d. Web. 16 Nov. 2015. <http://www.temnikova.ee/?c=gallery-artists&l=en&t=kris-lemsalu&id=25>.
Vermeulen, Timotheus, and Robin Van den Akker. "Notes on Metamodernism." Journal of Aesthetics & Culture. Vers. 2. Rev. 2010. N.p., n.d. Web. 16 Nov. 2015. <http://aestheticsandculture.net/index.php/jac/article/view/5677/6304>.

Curatorial Proposal: Feminism

With the usage of creative and aggressive tactics feminists tackle American patriarchy.  Feminists from East coast and West coast America had varying degrees of getting attention for their cause.  This is due to the vast lifestyles and personalities on each coast, which is why both sides had varying degrees of sympathy and anger.  The list of feminists that will be shown in this curatorial project will be as follows Eva Hesse, Nancy Spero, The Guerrilla Girls, Cindy Sherman, Louise Bourgeois, Barbara Kruger, Judy Chicago, Kiki Smith, Sally Mann, Marina Abromovic, Kara Walker and Andrea Bowers.  All of these artists are indeed feminists, but had very different approaches to the subject, which was partially due to the side of the country the artist resided.  I want to see what this war meant to the feminist movement and what happened as a result in today’s society.

  • Louise Bourgeois: Cells (Choisy)
    • 1990-93, pink marble, metal, glass, 120.5inx67x94.15in
  • Eva Hesse: Right After
    • 1969, Fiberglass, 5 × 18 × 4 ft (152.39 × 548.61 × 121.91 cm)
  • Nancy Spero: Sheela-na-gig at Home
    • 1996, Hand-printing and printed collage on paper, installation with video, underwear, and clothesline, Dimensions variable
  • The Guerrilla Girls: Do Women have to be Naked to get into the Met. Museum?
    • 1989, screenprint on paper
  • Barbara Kruger: Your Gaze Hits the Side of my Face
    • 1983, black and white photograph, 6’1’’x4’1’’
  • Judy Chicago: The Dinner Party
    • 1974-1979, Ceramic, porcelain, textile, triangular table, 576 x 576 in and each side 48ft.
  • Kara Walker: Before the Battle (Chickin’ Dumplin’)
    • 2004, black paper cut on canvas, 48×54’’
  • Kiki Smith: Little Mountain
    • 1993-96, multiple cast of glass, 3.18×4.06×2’’
  • Cindy Sherman: Untitled #474
    • 2008, chromogenic color print, 7’6.75’’x60’’
  • Sally Mann: Emmett, Jessie, Virginia
    • gelatin-silver print, 1989
  • Marina Abromovic: The Artist is Present
    • 2010, performance piece
  • Andrea Bowers: The Discovery of the Clitoris
    • 2011, Graphite on paper, 30 x 22 1/4 in (76.2 x 56.5 cm)

Exploring the ICA (Institute of Contemporary Art)

This is a slideshare discussing my recent trip to the ICA (Institute of Contemporary Art) in Philadelphia.  I have added six images each with a description of the work and its commentary.  The featured artists during my visit were Christopher Knowles, Josephine Pryde and Becky Suss.

Postmodernism: Cindy Sherman and Art Theory

The following prompts are concerned with art theory and the work of Cindy Sherman with a specific focus on her series of Untitled Film Stills.

  • Is Sherman sincere when she claims innocence of theory in the creation of the Untitled Film Stills?
  • Does her growing awareness of postmodern theoretical constructs influence her work over time? Is she more, or less, self-conscious about application of theory to her work in, for example, The Sex Picturesthan she is in earlier serial work? Does theory begins to lead her work, (and if so, when), or is she content to let theory “find” her after the fact?
  • Should an artist’s work be aware of and consciously guided by theory, or should an artist cultivate a conscious insulation from theory? If the latter, what good is understanding theory for an artist? What are the creative consequences, personally and globally, of accepting or adapting any one postmodern belief?

Cindy Sherman is an artist who in her photography is both the photographer and the model. This poses a new role for the field of photography and one that was never done before. The theory she was working under during her series of the Untitled Film Stills was that of Postmodernism. This means that she is finding a new way to express art without the usage of the old Modernistic dogma.

I believe that Sherman is sincere in her Untitled Films Stills series, but when viewers see her works they read into them believing that she is purposefully working for the feminist agenda. Due to the fact that Sherman is a woman these stills read as if the male gaze is affecting her (the model in the scene depicted). Sherman is innocent in her intent due to the fact that she is trying to make points about stereotyping with the usage of images, or film stills for that matter. The reason she is not seen as a feminist by art historians is due to the fact that she is not using her body in a way to call for change in equality like the feminists of her time did. Sherman focuses on stereotypes and how a still image can make a viewer draw conclusions about that person just from first glance.

These film stills looked as if they were sometimes taken directly from a movie. Sherman quite often uses personas to engage in her work when using photography in order to keep her own self out of the image. I believe in some ways Postmodernist theory does begin to lead her work. This is because of the challenges she makes for the artistic community with her works as model and photographer. Modernists would not have accepted her as both model and photographer, but with the viewpoint of Postmodernism, she can now be seen as avant-garde in thinking to make this bold step in photography. Sherman did not make this effort consciously; it was more or less a product of her time and her creative process.

After learning about Cindy Sherman I believe that it is important for an artist’s work and the artist itself to be guided by theory. Theory itself can help an artist work within their timeline of art history and make valid points about the world and society. If an artist neither excludes theory in their work nor has knowledge in art theory, they can really deter and art critic or art galleries from understanding the work presented. An artist needs to understand theory and be able to either use or work against theory to aid them in their artistic process of producing works.