Week_6_Project_Development.

For the Landings project,  I am considering using the socialist colony location to have the exhibition. (Llano Del Rio) https://en.wikipedia.org/wiki/Llano_del_Rio It is along Highway 138 close to 165th Street East. I discovered that the location is a historical landmark. http://ohp.parks.ca.gov/ListedResources/Detail/933  So I called the public office and asked about getting an exhibition there. It was suggested that I contact the owner of the property, as it is on private land, and the land owner has the final say.  I am now in the process of locating the owner of the property through the County Recorder’s Office of Los Angeles County.

Week_6_Contextual_Research

I have watched two video’s on David Hockney’s Pearblossom HWY138. The first on youtube. https://youtu.be/sD123svCFHQ  The second was from KCET, but cannot seem to locate it again. From the first video I managed to figure out the exact location where he photographed the collage, and to get some idea how he photographed it. When I got to the location, it was a bit disappointing because it had changed so much. None of the elements David used where there anymore. This motivated me to think of a different way to make an image and came up with the Polyptych of five vertical separate elements, in addition, after remembering Ed Ruschas ‘Every Building on Sunset Strip-1966’

The idea came to mind to explore the entire Pearblossom Highway to see what it offered. Along the way I have discover some very interesting things. The location of and old socialist colony from 1914. very close to Hockney’s location. Maybe a half mile away. That Aldous Huxley lived out there for a brief period, also very close by.

So with a location and a concept, I am considering making a series of images and videos&films along Pearblossom Highway  and title the piece ‘Pearblossom Highway HWY 138 Start to Finish.’ I have a collection of camera both motion and still and am entertaining the idea of making the  series using different formats in motion and still for the project.

Week-6-Coursework

Should the photographs resonate with the space and place? This question, like anything else depends on a number of factors. If the imagery is part of the environment, I would say yes, sometime a piece is strong enough to survive on its own, without having to be in context with it’s surroundings. Generally I think the weaker a piece or a photograph is the more labels, framework and context it needs, because without it, it would just collapse or fall apart.

In my opinion, most art-works are so weak that without a framework it will just integrate into oblivion. The modern day ‘artist’ has learned to capitalise off the ‘soup label’ without which you as a viewer would nothing about the work, or even it is is fact a piece of art, or a nother piece of sidewalk garbage that has just blown in. In my piece that will happen at the site below, I hope the viewer steals, mutilates, or destroys the image. The only reason I am going to leave a guestbook is to find out why.  Why steal, destroy or mutilate?  It’s a very brutal location, the people driving past the installation are blue collar workers and most of them won’t get it.  Some may steal it because they may perceive it as a piece with value, they may destroy it because it is out of place and does not fit their. This is all conjecture. I would love to see how well I can predict the future.

I have submitted my space, its the one below. I had already made up my mind to do this before the weeks activity required it. I just posted it, it was a little late this week. however, I will go back and see the response.

My methodology if I understand the word correctly, would be a system or ideology of methods  or a system of methods that i will employ Well, I have moved out from the strict abstract limited restricted environment of my home out into the desert. I will employ the camera instead of camera less photography, I am going incorporate motion picture into the mix, I am going to draw on my prior technical, photographic skill and equipment and empty new ones such as vintage digital cameras, and I am going to take an open approach to the out come of the project to see where it goes as opposed to a specific location that I had in Carmel to get my work shown. I will show it there if the opportunity came but I am no longer aiming for it like i did in the past.  I feel like I have been unshackled, in a lot of ways. No that i did not understand the advantages of chance and opens. I have studied the Tao and the works of John Cage for a very long time. Rigidity is the mark of death. I understand this conceptually, now I am having the opportunity to experience it. I guess the old adage is true. One can never in words explain the color red, to someone who has never had the experience of seeing it.  Im seeing it!

Llano Del Rio.jpg

Link (Links to an external site.)  Image courtesy of link.

I have already considered an alternative space to show my work for this module. This is Llano Del Rio (A socialist commune, that was attempted here around the turn of the 20th century) off Pearblossom Highway very close to where David Hockney photographed his collage in 1986, it is a half a mile from there.  I like this space for a number of reasons, one, mentioned above, secondly, it’s the remains of an old hotel from around 1914.

My show is going to be in the lobby of this hotel with a guestbook, left to the public of the highway immediately to the right off camera 75ft or so, and the elements, which is very harsh out here in the desert. There are a few challenges here besides the people from the highway and the elements. This is a national heritage site and I am going to have to obtain permission to do it.

I figure I will handle the site rep like a gallery curator, it is going to take some salesmanship to sell them the idea. Besides having become fascinated by this highway through the desert, I have discovered some interesting people who have worked and lived out here. Another person of interest was Aldous Huxley. Author of Doors of Perception.

Week_6_Independant_Reflections

This week has been a little slow going, not photo wise, but course wise, can’t seem to get ahead.  I have had to think deeply about this blog and how to categorise it in a way that it is easily navigable and understandable. I prefer to figure this out through a few questions from tutors as opposed to friends,colleagues and co-horts. The reason being is that I am not looking for other peoples way of doing it, I’m looking for a way to figure it out through self discovery, experimentation and incubation. I really want to improve my understanding and knowledge of this course and learn to be able to express my feelings in words. This translation and transformation is difficult for me. I understand it conceptually, but discovered that I need a framework to give me a better understanding of how to transmute from one form into another.  Stella gave me some valuable advice and I am waiting for Gary’s input.

It seems that I am getting a better understanding of it, and hope that things will improve as the course progresses. I am not going to go back to fix past errors, I would like to be able to look back and see my progression as the course moves along. I had one 1-2-1 tutorial with Stella, I enjoy that kind of communication. Unfortunately there is only going to be a one maybe two more this module. I hope there will be more in the future.

The webinars with Gary are a lot of fun and insightful. I missed one this past week. Need to take more care with the times. That 8-hr difference throws me off. I think I have the times memorised, however, I have been wrong a few times with this. I need more discipline in this arena and need to make a special effort to pay more attention to the times and make sure I get the time difference figured out well before hand.

The course is going well. Have my moments of ups and downs, but I remember a talk with Simon at the F2F and he told me it’s too be expected. Very pleased to have had that chat with an advanced student, because “Simons Said” has become my mantra when I feel I’m at low tide.  I am so pleased I attended the Face to Face (F2F), it has helped me in so many ways. I highly suggest ALL new students make the effort to attend the first one. It has been helpful on so many levels, and has made the program feel much more legitimate, especially as it was held at the Falmouth Campus. A lot of that F2F experience is starting to pay off now in this second module. In particular, having met fellow students, the professors as well as having portfolio reviews (even though I did not have a portfolio, I just put some work together last minute) and many other pieces of advice gleaned from my time there.

I have also decided to have a ‘sub plot’ if you will, to my FMP and that is my weight loss project. I started last week at 235lbs. I am not going on any specific diet, only a caloric consumption of around 1500 calories a day. I’m doing it as a process. . . a journey, with no goal, and commit myself for the same period as the MA course and see what the outcome is a year and a half from now. I am considering doing my FMP in the same way, i.e. as a process.  This week I walked 6 miles and kept around a 1500 calories per day for the week. I have lost 3 LBS.

Calories Consumed for week on daily basis. Courtesy of My Fitness Pal.com
Weight Drop for the week. Courtesy of My Fitness Pal.com

 

Week_5_Coursework

The audience is a critical part of an artists work, without them, is a work of art real, does it exist? From the old adage “If a tree falls in the woods, and no-one hears it, does it make a sound?  Personally I think artists need to consider the audience, but specifically what type of audience? For me it’s more of a tribal audience, in the fact that I like to make certain kinds of work, and would like that work to appeal to my tribe. I’m not interested in a global audience. I like to do work, and hope that a certain type of audience will respond to it. I do not make work specifically to attract and audience.

The same applies to a curator. I would look for a curator that appreciates the same ‘Genre’ that I like to work in  that being ‘Abstract and Happenings’ then do work an approach them. If they are successful, selling and exhibiting works, and they have a criticism of my work, I will listen, evaluate, and make a decision based on a bed of logic, reason and intuition. If I come to a conclusion that that are right and changes need to be made, I will consider and base changes on that.

Curators are the gatekeepers, and necessary  to an artist getting their work appreciated and sold in the public realm. I think as an artist, if a problem with the work arises, both sides should air their views and them come to a conclusion based on facts, evidence as well as intuition should be made. A curator is a partner in a way, no two people have exactly the same views, how ever in any working relationship it’s a give and take on both side. My feelings are:  A single person has the power of one person. Two people have the power of four, power is quadrupled with two people working at something.

This week I posted my idea of having my exhibition out in the desert at the site of Llano Del Rio on Pearblossom Highway  HWY 138. I had a single positive feedback. so I am going to go with it. As far as my methodology goes, I have become more open to outcome as opposed to have a very focused view of what I want, this has given me a lot more confidence, not being so worried about a specific outcome, and it is making the process a lot more enjoyable.

Personally, besides abstract, I enjoy happenings. I am considering doing my FMP project as more of a happening that a series of abstract images.  I may incorporate abstraction into the happening, thus satisfying two aspects of my work. Moving forward, I am going to experiment a more in this direction.

Week_5_Independant_Reflection

The audience is a critical part of an artists work, without them, is a work of art real, does it exist? From the old adage “If a tree falls in the woods, and no-one hears it, does it make a sound?  Personally I think artists need to consider the audience, but specifically what type of audience? For me it’s more of a tribal audience, in the fact that I like to make certain kinds of work, and would like that work to appeal to my tribe. I’m not interested in a global audience. I like to do work, and hope that a certain type of audience will respond to it. I do not make work specifically to attract and audience.

The same applies to a curator. I would look for a curator that appreciates the same ‘Genre’ that I like to work in  that being ‘Abstract and Happenings’ then do work an approach them. If they are successful, selling and exhibiting works, and they have a criticism of my work, I will listen, evaluate, and make a decision based on a bed of logic, reason and intuition. If I come to a conclusion that that are right and changes need to be made, I will consider and base changes on that.

Curators are the gatekeepers, and necessary  to an artist getting their work appreciated and sold in the public realm. I think as an artist, if a problem with the work arises, both sides should air their views and them come to a conclusion based on facts, evidence as well as intuition should be made. A curator is a partner in a way, no two people have exactly the same views, how ever in any working relationship it’s a give and take on both side. My feelings are:  A single person has the power of one person. Two people have the power of four, power is quadrupled with two people working at something.

This week I posted my idea of having my exhibition out in the desert. I had a single positive feedback. so I am going to go with it. As far as my methodology goes, I have become more open to outcome as opposed to have a very focused view of what I want, this has given me a lot more confidence, not being so worried about a specific outcome, and it is making the process a lot more enjoyable.

Personally, besides abstract, I enjoy happenings. I am considering doing my FMP project as more of a happening that a series of abstract images.  I may incorporate abstraction into the happening, thus satisfying two aspects of my work. Moving forward, I am going to experiment a more in this direction.

Week_5_Project_Development.

I am considering  doing my FMP along HWY138.  As I have been traveling this highway back and forth, some interesting things are coming to light. Besides David Hockney’s Pearblossom HWY- 1984.

I discovered that Aldous Huxley lived out there. That there was a Socialist Commune that was out there along HWY 138 back in 1914. Ironically all around 165 Street East where Hockney made his collage.

I was looking through some photos on my phone today, and discovered that I had actually seen the original image at the George Pompidou in Paris last August while on vacation in Europe.

The strange thing about it is that I do not remember seeing it or even taking this photograph.

‘3 Chairs Jardin Du Luxembourg’ © Pierre Chemaly

Earlier that day, I was at Jardin du Luxembourg and I made an image of three chairs.  Later on a visit to the pompidou, I saw a painting of David Hockneys, which was somewhat similar.

Le Parc des Sources Vichy. 1970. Acrylic on canvas. © David Hockney.

I will be going out to HWY 138 this coming weekend, and will go and look at the site of the Llano Del Rio site myself to get a feeling of it and may ask a few people in the area about the place.

I am contacted the State about using the site, because it is a historical land mark, and they said that it is private property and I need to contact the owner. So I will be busy next week to inquire how to do that.

Week_5_Contextual_Research

This week I read the paper by Stella Baraklianou titled Pixel. It was interesting to read that it does necessarily relate to the current digital photographic practice. That already as far back as  1927 with the invention of television they were using a mosaic of light points of varying illuminance to describe the image elements. For me the interest lies in how the image is formed. In analogue silver halide film, the sensitised silver becomes darkened when exposed to light and developed then fixed.

The one advantage that comes to mind with pixel technology is that the image can be manipulated at a the pixel level, in terms of color, contrast, and imperfections, which was not as easy in the analogue system.

I also discussed the perceived problem of failure, or the fear of failing and Stella recommended a book titled: ‘Failure – Documents of Contemporary Art’ Edited by Lisa Le Feuve. In which success is deemed to be regarded as something great. That between the positive and the negative if success and failure, can even be regarded as that, but more importantly, it is a place where one can begin to produce. I will be looking at this book and see what insights it has to offer.

References:

Failure-Documents of Contemporary Art, Edited by Lisa Le Feuvre, The MIT Press, Cambridge, Massachusetts. ISBN 978-0-262-51477-4

Week_4_Contextual_Research

In terms of the my assignment on Pearblossom Highway.  I was particularly inspired by the work of David Hockney http://www.davidhockney.co/works/photos/photographic-collages and Ed Ruscha. https://www.artsy.net/artwork/ed-ruscha-hollywood-14

I was fortunate enough to go to one of David’s recent exhibitions here in Los Angeles at the  The L.A. Louvre in Venice CA. It was nice to see and reflect on some original works. And I made a few “Art Images” myself while at the exhibition. http://www.lalouver.com/exhibition.cfm?tExhibition_id=1699