I don't have any other pictures of the project, but I am still slowly (but surely) gathering nails and staples to add to the jars, The number of jars may change for the reason that I may not have enough staples to fill them up by time the due date comes around. I may stick to two or three jars lined up next to each other. One will be of the rusty ones, one will be a mix of rusty and new, and the last one will more than likely be filled with only new staples and nails in it. It will look like a gradient of the nails from old to new in the three little mason jars.
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I had decided to put the nails and staples into small mason jars and set them next to each other in a circle (five jars on the outside of the circle surrounding another jar in the middle). I thought about using one large mason jar, but I had thought about how many nails and staples it would take. I wouldn't be able to gather enough of them to fill one large jar, so I decided to put them into small jars instead. I am still uncertain whether I am going to have enough staples and nails to fill all six jars, but I may add more to them if need be, regardless of whether the due date has passed or not.
For the home project, I am playing with the idea of using the staples and nails that were used on telephone poles to post fliers of all sorts. I am thinking of finding a wooden cylinder and piling the staples and nails on top of it, possibly surrounding the pole with fliers. I was always curious and somewhat fascinated with how some of the poles have hundreds of staples and nails in them, leaving almost no room left for others. I feel that it shows the dynamics of the community as well as expressing how many events or interactions can be going on. Each nail and staple are their own separate event, and when brought together it also brings all of the events together in the community, thus the community itself is brought together.
For the sculpture I had most of the pieces constructed, but they were not attached together yet. I had the most trouble with attaching the big cones to the box, and had finally settled on creating a tin-foil paper mache that would be glued to the box for support. I had been looking for a small vinyl disc to use for the record, but am happy with the wire. I think that the wire gives the sculpture a better feel than if I had gone with the vinyl.
Feeling Material XIV Antony Gormley (b. 1950) 4mm square section mila steel bar 88.5 x 85.75 x 67 in. (224.8 x 219.9 x 170.7 cm) executed in 2005 Antony Gormley is from the UK and has been in many exhibitions throughout the world. Some of his most famous works of art is Angel of the North, located in Gateshead, England, and Event Horizon. Antony Gormley focuses on sculptures, installations, and public artworks that investigate the relationship of the human body to space. Gormley describes his work as "an attempt to materialise the place at which the other side of appearance where we all live." Also, he says that his work "is not symbolic but indexical-- a trace of a real event of a real body in time." Gormley continually tries to identify the space of art as a place of becoming in which new behaviours, thoughts and feelings can arise. Article here about his childhood and talks somewhat about how his style is unique to him as an artist and what it means to Gormley. More sculptures by Gormley: Questions:
1) What does the space mean to Gormley when he is creating a work of art? 2) What about Gormley's siblings and/or childhood could have made an influence in his work? 3) What other events or stages did Gormley experience in his past that could also have made a big impact in his work and the meaning as a whole? One Year in the Milkweed 1944 oil on canvas 94.2 x 119.3 cm (17 1/16 x 46 15/16 in.) National Gallery of Art, Washington D.C. Name: Vostanik Manoog Adoyan (aka Arshile Gorky) Born: April 15, 1904, Van Vilayet (note: he was not entirely certain of his birth date. It was sometime between 1902 and 1905, and he had changed it from year to year) Died: July 21, 1948, Sherman, CT (44 years old) Spouse: Agnes Magruder Education: National Academy Museum and School Much of Gorky's work reflects both the artist's traumatic past as a genocide survivor and the memory of the exquisite beauty of his early childhood surroundings in Armenia. Pioneered the trend of naming his abstract compositions with titles directly referring to particular objects and places, thus fusing objective reality and subjective feeling in his works. Gorky provides an important link between prewar European modern styles and the emergence of Abstract Expressionism in America during the 1940's. Gorky, who had no formal art training, studied art by looking at other artists, such as Cezanne and Picasso, and trying to paint like them. He was influenced by Cubist composition and by Surrealist ideas, such as automatism, which meant creating with the unconscious, rather than the conscious mind and reason. He was what is termed a 'painterly' painter - meaning that his painting is more concerned more with shape/mass than line; and his forms do not have strong contours, but rather flow into one another in a loose manner. Arshile Gorky was especially good friends with William de Kooning, another well known Abstract Expressionist artist. The two had worked together in New York, and were each heavily influenced by the other during the Great Depression (before either artist was well known in the art world). More Info
Even More Info! More More More Info!! Questions: Do you think that making art that directly relates to his past time (living during a genocide) act as a coping mechanism in some sense? Even though he made some of his work by giving it specific titles that directly relate to certain objects and places, can people tell that the art work is the object or place mentioned in his titles? If so, does this make it Abstract Expressionism or just abstract art? What artists do you think Gorky took after? What artists do you think took after Gorky? |
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May 2018
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