Sunday, September 30, 2007
Lily Wong
The piece that most intrigued me was the diptych of a young woman in the Accumulations gallery, created by Rineke Dijkstra. Getting home, the first thing I did was look up diptych, which is in short, a work made up of two matching parts. In this piece are two C-prints, portraits with female subjects. At first glance, I thought there were two different women photographed in this work, that they merely represented civilian versus military life. In actuality, this diptych features only one woman. The left portrait was taken the day she was inducted into the Israeli army. In it, she posed off to the side; head tilted, hair styled, and light makeup done. On the right though, her hair is put up and it still looks well kept, her eye makeup seems a bit heavier, with more liner and she is sporting a healthier glow/tan, most likely from running around outside training during the 8-month span that passed between these two portraits. The documentation included with the piece says, “We might expect her fatigues to dampen her individuality, yet even in an army uniform, the young woman’s personality shines through” but I think she exerts herself more confidently in the second image. She is facing the camera head on, instead of gazing at it with her head tilted, her body is also facing the camera, but one shoulder is lowered, giving off a more nonchalant and again, confident, poise. I found the picture on the right more attractive because of her confident gaze and slight smile/smirk. Because these portraits are less formal than those taken of US military personnel are, they allow the subject’s personality to shine. After learning a bit more about the subject, it seems that military training has empowered her. It is quite the contrast between the picture on the left, which reminds me of a timid librarian. I have to admit that my first impression of the left side is stereotypical; all she needs is a pair of glasses to complete the image of the characteristic bookish type. The text next to the piece also mentioned it being a “transformation from one state of being to another,” and Clark Kent/Superman came to mind. Her transformation conveys the uplifting of the limits that our social society once placed on the statute of being a woman and of empowerment—were the second image to show a defeated and disheveled individual, the artist would be conveying the sexist view that much of society still expects.
Nick Hough ICA Assignment
Nick Hough
September 30, 2007
ICA Assignment
I have never heard of The Institute of Contemporary Art, let alone gone and seen it, so it was a very interesting experience. First thing you notice is the way the building looks, very contemporary, sleek and clean. I also like the location of the building right on the harbor. When you walk in you see the big mural on the wall divine gas. It is contoured to the angel of the roof. I have to saw that this was my least favorite piece in the museum. There was something about the eyes that seemed disturbing to me, almost demon like, but I enjoyed the rest. There were two works that I really did enjoy.
The first art piece that really stood out to me was an untitled one by Tara Donovan. She converts every day, disposable materials into stylish sculptures, installations, and works of paper. Here untitled (Pins) is made from thousands of commonplace, silver straight pins that are formed into a perfect square cube. I find it amazing that the pines are not glued or use magnets in any way that would keep them together. Gravity is the only thing that is keeping them from falling down. That is what the most interesting aspect of the box is to me. Donovan makes this piece by pouring boxes upon boxes of pins into a four-sided mold. Once the sides are removed, the pins keep a cube shape, bound by nothing more than gravity. I think that this is amazing. The idea almost reminds me of how a bird makes a nest using only twigs that are stacked on top of each other. The cube seems to be a solid form but when you get close to it, you can see that it is anything but solid. When you think about it, a bug could come and land on it and the whole thing could fall down all that work go. I guess that is what ads to the mystery of it.
The second that I found to be truly out of the ordinarily was Hanging Fire by Cornelia Parker. Parker is a English artist who was born in 1956 in Cheshire, England. Hanging Fire consists of many numerous pieces of charcoal that are suspended in the air. The bigger parts are at the bottom and they become smaller the higher and farther away you get. I like this piece because there is always some kind of motion going on. Whether it is the way it looks or from the wind moving and making it spin. What makes it really special is that all of the wood that was used came from a wood working shop that was burned down. I like that Parker made a truly creative sculpture from something that other people used for creativity.
September 30, 2007
ICA Assignment
I have never heard of The Institute of Contemporary Art, let alone gone and seen it, so it was a very interesting experience. First thing you notice is the way the building looks, very contemporary, sleek and clean. I also like the location of the building right on the harbor. When you walk in you see the big mural on the wall divine gas. It is contoured to the angel of the roof. I have to saw that this was my least favorite piece in the museum. There was something about the eyes that seemed disturbing to me, almost demon like, but I enjoyed the rest. There were two works that I really did enjoy.
The first art piece that really stood out to me was an untitled one by Tara Donovan. She converts every day, disposable materials into stylish sculptures, installations, and works of paper. Here untitled (Pins) is made from thousands of commonplace, silver straight pins that are formed into a perfect square cube. I find it amazing that the pines are not glued or use magnets in any way that would keep them together. Gravity is the only thing that is keeping them from falling down. That is what the most interesting aspect of the box is to me. Donovan makes this piece by pouring boxes upon boxes of pins into a four-sided mold. Once the sides are removed, the pins keep a cube shape, bound by nothing more than gravity. I think that this is amazing. The idea almost reminds me of how a bird makes a nest using only twigs that are stacked on top of each other. The cube seems to be a solid form but when you get close to it, you can see that it is anything but solid. When you think about it, a bug could come and land on it and the whole thing could fall down all that work go. I guess that is what ads to the mystery of it.
The second that I found to be truly out of the ordinarily was Hanging Fire by Cornelia Parker. Parker is a English artist who was born in 1956 in Cheshire, England. Hanging Fire consists of many numerous pieces of charcoal that are suspended in the air. The bigger parts are at the bottom and they become smaller the higher and farther away you get. I like this piece because there is always some kind of motion going on. Whether it is the way it looks or from the wind moving and making it spin. What makes it really special is that all of the wood that was used came from a wood working shop that was burned down. I like that Parker made a truly creative sculpture from something that other people used for creativity.
ICA Assingment
Felix Garcia
Sept. 30, 2007
Digital Art 297
My trip to the Institute for Contemporary Art was definitely a new and engaging experience for me. It was my first trip to the institute and I really enjoyed seeing all the many different works on display. The large mural near the entrance named, The Divine Gas, by Chiho Aoshima was quite a breathtaking and colorful visual to witness upon entering the building. The amount of detail and not to mention the sheer size was a lot to take in. Another of the institute's works that I looked for was Dave McKenzie's video, Present Tense, which was full of usual and bizarre images and scenes loaded with metaphors. A few other exhibits I feel are worth mentioning are Josiah McElheny's elegant piece Czech Modernism Mirrored and Reflected Infinitely, Julian Opie's digitally animated Suzanne Walking in Leather Skirt, and two videos done by Christian Jankowski, The Hunt, a very short but very funny clip about a man that “hunts” his groceries with a bow and arrow, and Point of Sale, three eighteen minute color videos projected on three separate screens that showcases a consultants interview of an art dealer and an elderly electronics store owner whose shop is in the same building as the art dealer's gallery. I thought it was a very amusing and effective video because each interviewee gave the other's responses to the questions and it really gave insight into certain aspect of the relationship between business and art.
Of the various works in the ICA, I chose to focus on Wrong Number Karaoke, by Rachel Perry Weltz, who lives in Needham Massachusetts and was a finalist in the James and Audrey Foster Prize, which earned her the chance to display her artwork as part of the ICA's Accumulations exhibit. This six minute and fifty-two second digital video, played on a flat-screen television set, features the artist, Weltz herself, sitting in front of the camera lip-syncing to a number of messages left on her answering machine by several different people, all of whom accidentally dialed the wrong number. Weltz sits completely still starring blankly into the camera until the messages start, and then she takes on facial expressions that seem almost perfectly mimic the demeanor suggested by the voices of the callers. This work stood out to me because it was really different from the traditional expectations and assumptions of what is considered art. I didn't expect to see a video such as this in a museum. What I also liked about this piece was that, though it seems fairly straight-forward and simple on the surface, it really draws attention to certain aspects of modern society and people's reliance on technology. Weltz was able bring so many different emotions into this piece; there were funny moments when she imitated the stereotypical characteristics of a grumpy office worker, or a very cheerful young woman, and there were sad moments where she seems emulate the emotions of an older lady trying to reach a friend she really needed to speak with. I felt that the artist effectively created an illuminating perspective of the society we live today.
Sept. 30, 2007
Digital Art 297
My trip to the Institute for Contemporary Art was definitely a new and engaging experience for me. It was my first trip to the institute and I really enjoyed seeing all the many different works on display. The large mural near the entrance named, The Divine Gas, by Chiho Aoshima was quite a breathtaking and colorful visual to witness upon entering the building. The amount of detail and not to mention the sheer size was a lot to take in. Another of the institute's works that I looked for was Dave McKenzie's video, Present Tense, which was full of usual and bizarre images and scenes loaded with metaphors. A few other exhibits I feel are worth mentioning are Josiah McElheny's elegant piece Czech Modernism Mirrored and Reflected Infinitely, Julian Opie's digitally animated Suzanne Walking in Leather Skirt, and two videos done by Christian Jankowski, The Hunt, a very short but very funny clip about a man that “hunts” his groceries with a bow and arrow, and Point of Sale, three eighteen minute color videos projected on three separate screens that showcases a consultants interview of an art dealer and an elderly electronics store owner whose shop is in the same building as the art dealer's gallery. I thought it was a very amusing and effective video because each interviewee gave the other's responses to the questions and it really gave insight into certain aspect of the relationship between business and art.
Of the various works in the ICA, I chose to focus on Wrong Number Karaoke, by Rachel Perry Weltz, who lives in Needham Massachusetts and was a finalist in the James and Audrey Foster Prize, which earned her the chance to display her artwork as part of the ICA's Accumulations exhibit. This six minute and fifty-two second digital video, played on a flat-screen television set, features the artist, Weltz herself, sitting in front of the camera lip-syncing to a number of messages left on her answering machine by several different people, all of whom accidentally dialed the wrong number. Weltz sits completely still starring blankly into the camera until the messages start, and then she takes on facial expressions that seem almost perfectly mimic the demeanor suggested by the voices of the callers. This work stood out to me because it was really different from the traditional expectations and assumptions of what is considered art. I didn't expect to see a video such as this in a museum. What I also liked about this piece was that, though it seems fairly straight-forward and simple on the surface, it really draws attention to certain aspects of modern society and people's reliance on technology. Weltz was able bring so many different emotions into this piece; there were funny moments when she imitated the stereotypical characteristics of a grumpy office worker, or a very cheerful young woman, and there were sad moments where she seems emulate the emotions of an older lady trying to reach a friend she really needed to speak with. I felt that the artist effectively created an illuminating perspective of the society we live today.
My Visit to the ICA
Cagen Luse
9/30/07
My Visit to the ICA
I thoroughly enjoyed my trip to the ICA. I had not had a chance to go since they moved from their Bolyston Street location, but had heard great things about the building and exhibits. I was not disappointed. The building was incredible but I thought the exhibit space was rather small. The really had some nice exhibit spaces, particularly the Mediatheque room that faces down to the water of Boston harbor. The lines of MACs offered kiosks with a great amount of information about the exhibits and other artists like Lyhla Ali. (I would like to see more of her work) as well as man on the street interviews about the meaning of art. I think this made the whole experience more able to connect to the average viewer, which I think is very important.
Chino Aoshima’s piece The Divine Gas on the Feinberg Art Wall when you first enter the building was impressively large in both content and scale. The main figure of the angelic somewhat alien seems both out of place and at the same time part of the landscape. I spent a great deal of time examining it and saw multiple levels of detail I would have easily missed if I had not taken the time to look at it closely (like the fish swimming in her tears).
MOMENTUM 8: DAVE MCKENZIE
I had read an article in the Boston Globe about his artwork and was very interested in seeing his presentation. In the article it had talked about him greeting visitors in a large head mask of him self dispensing bobble head dolls of himself, which I thought made and interesting statement about fame and taking art too seriously. I found his film work compelling although rather amateurish in production and scattered. I keep watching waiting for a climax of some sort but it seemed never to come. His use of dolls to represent himself and Andy Warhol seemed to make a statement about the art world and the connection to the past. I was a little unsure what the reference to Mr. Limpett and the swimming goldfish meant at first but the brochure explained that it was a pop culture reference, albeit obscure, to a children’s film starring Don Knotts.
BOURGEOIS IN BOSTON
I found Louise Bourgeois’ exhibit interesting. The body of work and span of time in which they were created was immense. The pieces focusing on the spider forms really held my interest. It was interesting to see the exploration of the same form in many different ways from simple paintings to an immense metal sculture. Jitterbug, a painting of two spiders dancing on a sheet of paper with musical bars was rather clever. I also really liked some of her other works like Cell (Hand and Mirrors) and Janus Fleuri. The hands in the multi-door box that gave a different view of it when you looked at it from different angles was very cool experience. Janus Fleuri on the other hand looked like a disfigured pelvis of a paraplegic, I found this one a little disturbing and grotesque but none the less a compelling piece that made me look more than once.
Over all the ICA was a great experience. I wandered to the second and third floors and was disappointed to find them locked up tight. I would like to return to experience what they do with the Education center, Digital Studio and Theater I was denied access to. I will definitely return to see the design exhibit and lectures in this incredible structure.
9/30/07
My Visit to the ICA
I thoroughly enjoyed my trip to the ICA. I had not had a chance to go since they moved from their Bolyston Street location, but had heard great things about the building and exhibits. I was not disappointed. The building was incredible but I thought the exhibit space was rather small. The really had some nice exhibit spaces, particularly the Mediatheque room that faces down to the water of Boston harbor. The lines of MACs offered kiosks with a great amount of information about the exhibits and other artists like Lyhla Ali. (I would like to see more of her work) as well as man on the street interviews about the meaning of art. I think this made the whole experience more able to connect to the average viewer, which I think is very important.
Chino Aoshima’s piece The Divine Gas on the Feinberg Art Wall when you first enter the building was impressively large in both content and scale. The main figure of the angelic somewhat alien seems both out of place and at the same time part of the landscape. I spent a great deal of time examining it and saw multiple levels of detail I would have easily missed if I had not taken the time to look at it closely (like the fish swimming in her tears).
MOMENTUM 8: DAVE MCKENZIE
I had read an article in the Boston Globe about his artwork and was very interested in seeing his presentation. In the article it had talked about him greeting visitors in a large head mask of him self dispensing bobble head dolls of himself, which I thought made and interesting statement about fame and taking art too seriously. I found his film work compelling although rather amateurish in production and scattered. I keep watching waiting for a climax of some sort but it seemed never to come. His use of dolls to represent himself and Andy Warhol seemed to make a statement about the art world and the connection to the past. I was a little unsure what the reference to Mr. Limpett and the swimming goldfish meant at first but the brochure explained that it was a pop culture reference, albeit obscure, to a children’s film starring Don Knotts.
BOURGEOIS IN BOSTON
I found Louise Bourgeois’ exhibit interesting. The body of work and span of time in which they were created was immense. The pieces focusing on the spider forms really held my interest. It was interesting to see the exploration of the same form in many different ways from simple paintings to an immense metal sculture. Jitterbug, a painting of two spiders dancing on a sheet of paper with musical bars was rather clever. I also really liked some of her other works like Cell (Hand and Mirrors) and Janus Fleuri. The hands in the multi-door box that gave a different view of it when you looked at it from different angles was very cool experience. Janus Fleuri on the other hand looked like a disfigured pelvis of a paraplegic, I found this one a little disturbing and grotesque but none the less a compelling piece that made me look more than once.
Over all the ICA was a great experience. I wandered to the second and third floors and was disappointed to find them locked up tight. I would like to return to experience what they do with the Education center, Digital Studio and Theater I was denied access to. I will definitely return to see the design exhibit and lectures in this incredible structure.
ICA visit
Rob Folan
Please forgive the formatting here. I did the piece in a newspaper review format.
New ICA Shows its Stuff
Rob Folan-Johnson
Boston may be a cultural Mecca but it has had a justifiable reputation as a bastion of cultural conservatism: area art lovers have had a century long reluctance to embrace any post-impressionist era art. As a result, the country is littered with living artists who once called the region home but gave up trying to make it here and so moved on.
That may have been then, this is now! The torch appears to have been passed to a new generation of local art patrons willing to recognize the value of contemporary art.
Symphony Hall, once a haven of blue-blooded Bostonians in old hats, listening to the three B’s, now packs the house with James Levine and a renewed BSO, frequently performing the three C’s: Cage, Carter, and Corigliano.
In Cambridge, sold out productions of the firmly established American Repertory Theater regularly soar beyond the bounds of standard theatre.
And on the Boston waterfront, the new, improved, Institute of Cotemporary Art, occupies an exciting new edifice; a building where underappreciated local, and internationally known, living artists, can be showcased in a manner and setting that matches the enormity of their talents.
Getting to the new ICA, at least on foot, can seem confounding. Fan Pier’s development was in perpetual limbo until last weeks groundbreaking ceremonies. Still, on a Tuesday afternoon, it remains a sea of parked cars. The new ICA, however, makes traversing this auto gauntlet well worth the effort.
The museums lobby has a sort of corporate headquarters look that belies the brilliance of the institute’s artworks. That brilliance soon becomes apparent with Japanese artist’s Chiho Aoshima’s gigantic sacred/profane, Mac-art, lobby mural, The Divine Gas.
Produced, then printed up piecemeal off her Macintosh, it features a giant, cartoon inspired, misty eyed, waif, lying naked and prostrate in joyful pastoral surroundings. Meanwhile, a huge plume of “divine” flatulence emanates from her bare bottom. Within the “holy” gas cloud, another naked female sits in Buddha-like repose as smaller human figures nosedive off the cloud. Are they in free fall from her graces or merely passing out from the divine fumes?
Aoshima’s mythical construct should startle, amuse and excite all but the most staid, proper-Bostonian. It is a wonderfully inspired international edition to the cities vast array of art and after viewing it I could not wait to see what else the new ICA had to offer.
After riding up to the fourth floor galleries on the museum’s gigantic main elevator, I headed right into the Bourgeois in Boston exhibit. Considered among the worlds great living artists, the exhibit did not disappoint.
I was momentarily captivated as I entered the exhibit by her Personages series piece, the wooden carving, Untitled (1947-1949). It consisted of a sensuous pole-like figure, thin and limbless, with grouped levels of rotund male and female body parts. The tactically carved, breasts, testicals, teeth, a navel, combine the work into male, female, barebones sexual uniformity.
Also on display was an eerie, yet compelling, early painting. 1932 was painted the year the artist’s Mother died. A small crib, or is it child’s sized coffin, sits in a dark nursery, or funeral parlor, while an hat rack sized figurine, (nanny, or grieving parent) overlooks the scene.
Similarly ambivalent, was her more recent Spiral Woman (1984), a possible illustration of human developmental progress, or lack there-of. A half human female, half spiral shaped bronze figure, in transformation from, or to, either figure or spiral, as it hangs precariously by a thread over a black circle on the floor. Is the changing figure rising from, falling to, or just hanging over some abyss?
And assuming you have no aversion to insects, the Bourgeois exhibit included both drawings and a most imposing steel sculpture Spider (1996), which demonstrates her fixation on spiders. Bourgeois’ feels the industrious creatures have gotten a bad rap and the huge sculpture, which takes up an entire room of the exhibit, seems of suitable scale for a 50’s sci-fi B-movie. Its intimidating dimensions turns the tables on the viewer by offering a bug’s eye view of how humans might appear -- in size, that is -- to the insect world.
The ICA’s own assortment of works is not significant in number, but of what is currently on display (Accumulations) demonstrates that it has both depth and breath.
Upon entering this collection one sees Julian Opie’s computer animated Suzanne walking in leather skirt (2006). Both a paean and critique on societies obsession with the female form, its ordinary movements appear overtly sensuous, with the head (mind) reduced to a nonspecific circle and the extremities to practically non-existent appendages.
Nearby, the mesmerizing Czech Modernism Mirrored and Reflected Infinitely (2005) by Bostonian Josiah McElheny, provides a fun-house mirror view of silver decanters in a mirrored container. Viewed through a one way glass/mirror, the haunting beauty of the work casts a prolonged spell.
For humorous multiplicity, Lucy McKenzie’s Untitled (2004), simply appeared to me as the shadows of gallery viewers partaking of an abstract painting but the joke was on me. As I read the accompanying description, it revealed the underlying layers of McKenzie’s amusing vision, including robot figures in passionate embrace.
Other laugh out loud works included videos by Rachel Perry Welty mouthing extracts from her own telephone answering machine (Karaoke Wrong Number, 2001-2004) and Christian Jankowski’s frat-boy stunt, film short, The Hunt (1992/1997). This exhibit and other ICA accumulations make the trek to Boston’s newest cultural gem well worthwhile.
Please forgive the formatting here. I did the piece in a newspaper review format.
New ICA Shows its Stuff
Rob Folan-Johnson
Boston may be a cultural Mecca but it has had a justifiable reputation as a bastion of cultural conservatism: area art lovers have had a century long reluctance to embrace any post-impressionist era art. As a result, the country is littered with living artists who once called the region home but gave up trying to make it here and so moved on.
That may have been then, this is now! The torch appears to have been passed to a new generation of local art patrons willing to recognize the value of contemporary art.
Symphony Hall, once a haven of blue-blooded Bostonians in old hats, listening to the three B’s, now packs the house with James Levine and a renewed BSO, frequently performing the three C’s: Cage, Carter, and Corigliano.
In Cambridge, sold out productions of the firmly established American Repertory Theater regularly soar beyond the bounds of standard theatre.
And on the Boston waterfront, the new, improved, Institute of Cotemporary Art, occupies an exciting new edifice; a building where underappreciated local, and internationally known, living artists, can be showcased in a manner and setting that matches the enormity of their talents.
Getting to the new ICA, at least on foot, can seem confounding. Fan Pier’s development was in perpetual limbo until last weeks groundbreaking ceremonies. Still, on a Tuesday afternoon, it remains a sea of parked cars. The new ICA, however, makes traversing this auto gauntlet well worth the effort.
The museums lobby has a sort of corporate headquarters look that belies the brilliance of the institute’s artworks. That brilliance soon becomes apparent with Japanese artist’s Chiho Aoshima’s gigantic sacred/profane, Mac-art, lobby mural, The Divine Gas.
Produced, then printed up piecemeal off her Macintosh, it features a giant, cartoon inspired, misty eyed, waif, lying naked and prostrate in joyful pastoral surroundings. Meanwhile, a huge plume of “divine” flatulence emanates from her bare bottom. Within the “holy” gas cloud, another naked female sits in Buddha-like repose as smaller human figures nosedive off the cloud. Are they in free fall from her graces or merely passing out from the divine fumes?
Aoshima’s mythical construct should startle, amuse and excite all but the most staid, proper-Bostonian. It is a wonderfully inspired international edition to the cities vast array of art and after viewing it I could not wait to see what else the new ICA had to offer.
After riding up to the fourth floor galleries on the museum’s gigantic main elevator, I headed right into the Bourgeois in Boston exhibit. Considered among the worlds great living artists, the exhibit did not disappoint.
I was momentarily captivated as I entered the exhibit by her Personages series piece, the wooden carving, Untitled (1947-1949). It consisted of a sensuous pole-like figure, thin and limbless, with grouped levels of rotund male and female body parts. The tactically carved, breasts, testicals, teeth, a navel, combine the work into male, female, barebones sexual uniformity.
Also on display was an eerie, yet compelling, early painting. 1932 was painted the year the artist’s Mother died. A small crib, or is it child’s sized coffin, sits in a dark nursery, or funeral parlor, while an hat rack sized figurine, (nanny, or grieving parent) overlooks the scene.
Similarly ambivalent, was her more recent Spiral Woman (1984), a possible illustration of human developmental progress, or lack there-of. A half human female, half spiral shaped bronze figure, in transformation from, or to, either figure or spiral, as it hangs precariously by a thread over a black circle on the floor. Is the changing figure rising from, falling to, or just hanging over some abyss?
And assuming you have no aversion to insects, the Bourgeois exhibit included both drawings and a most imposing steel sculpture Spider (1996), which demonstrates her fixation on spiders. Bourgeois’ feels the industrious creatures have gotten a bad rap and the huge sculpture, which takes up an entire room of the exhibit, seems of suitable scale for a 50’s sci-fi B-movie. Its intimidating dimensions turns the tables on the viewer by offering a bug’s eye view of how humans might appear -- in size, that is -- to the insect world.
The ICA’s own assortment of works is not significant in number, but of what is currently on display (Accumulations) demonstrates that it has both depth and breath.
Upon entering this collection one sees Julian Opie’s computer animated Suzanne walking in leather skirt (2006). Both a paean and critique on societies obsession with the female form, its ordinary movements appear overtly sensuous, with the head (mind) reduced to a nonspecific circle and the extremities to practically non-existent appendages.
Nearby, the mesmerizing Czech Modernism Mirrored and Reflected Infinitely (2005) by Bostonian Josiah McElheny, provides a fun-house mirror view of silver decanters in a mirrored container. Viewed through a one way glass/mirror, the haunting beauty of the work casts a prolonged spell.
For humorous multiplicity, Lucy McKenzie’s Untitled (2004), simply appeared to me as the shadows of gallery viewers partaking of an abstract painting but the joke was on me. As I read the accompanying description, it revealed the underlying layers of McKenzie’s amusing vision, including robot figures in passionate embrace.
Other laugh out loud works included videos by Rachel Perry Welty mouthing extracts from her own telephone answering machine (Karaoke Wrong Number, 2001-2004) and Christian Jankowski’s frat-boy stunt, film short, The Hunt (1992/1997). This exhibit and other ICA accumulations make the trek to Boston’s newest cultural gem well worthwhile.
Vanessa Puerta
The Institute for Contemporary Art had many beautiful art pieces. One art that interested me tremendously was a mural made by Chiho Aoshima. The mural was a beautiful piece with a variation of colors in the lobby of the museum. I found myself gazing at it for a large amount of time. The piece, named “The Divine Gas” has a supernatural and natural world represented in it. What is going on in the massive mural really caught my eye. Out of all the pieces I saw, I admired Aoshima’s art the most.
The mural was created on a Macintosh G4 computer and printed on adhesive vinyl. The clouds are made up of mostly pink, purple, and white colors. Surrounding the clouds is a beautiful blue sky with many different shades. The grass field also has many shades of green. I think the sky represents the supernatural world, and the grass is the normal world. The mural is combined with many angles and views all over it with a variation of colors.
I believe that there is a female gender representation in the mural. The girl is pale white with stringy long hair, lying across grass. She has beautiful eyes and curvy bottom. Girls are usually depicted to have a curvy body and long, beautiful hair.
The setting is a calm, normal place. Butterflies’ are flying around and a couple is walking around holding hands. There seems to be nothing unusual going on on the grass field. When the mural goes above the grass, the sky looks calm but with something abnormal there. Several pink, purple, and white clouds emerge from the natural world of the girl’s bottom, and a black genie sits in the clouds. The genie appears to me to be evil in the supernatural clouds. It appears to be a god or spirit because of the sunshine that surrounds it. I realized that the gas is “divine” because it is godlike. The art is very effective because it grabs attention. I think the colors and expression are rare. I have never seen art like Aoshima. It gives you a sort of dream-like feeling.
I really enjoyed looking at this piece. The type of art that Aoshima creates really attracts me. I love the use of colors in the mural, and that it looks like a fantasy or dream. The mural tells a story, and it was fun to look at it and try to figure what the art was expressing.
The mural was created on a Macintosh G4 computer and printed on adhesive vinyl. The clouds are made up of mostly pink, purple, and white colors. Surrounding the clouds is a beautiful blue sky with many different shades. The grass field also has many shades of green. I think the sky represents the supernatural world, and the grass is the normal world. The mural is combined with many angles and views all over it with a variation of colors.
I believe that there is a female gender representation in the mural. The girl is pale white with stringy long hair, lying across grass. She has beautiful eyes and curvy bottom. Girls are usually depicted to have a curvy body and long, beautiful hair.
The setting is a calm, normal place. Butterflies’ are flying around and a couple is walking around holding hands. There seems to be nothing unusual going on on the grass field. When the mural goes above the grass, the sky looks calm but with something abnormal there. Several pink, purple, and white clouds emerge from the natural world of the girl’s bottom, and a black genie sits in the clouds. The genie appears to me to be evil in the supernatural clouds. It appears to be a god or spirit because of the sunshine that surrounds it. I realized that the gas is “divine” because it is godlike. The art is very effective because it grabs attention. I think the colors and expression are rare. I have never seen art like Aoshima. It gives you a sort of dream-like feeling.
I really enjoyed looking at this piece. The type of art that Aoshima creates really attracts me. I love the use of colors in the mural, and that it looks like a fantasy or dream. The mural tells a story, and it was fun to look at it and try to figure what the art was expressing.
what was that man talking about? -khat
David McKenzie bored me to tears. I watched his video installation from start to finish, so to speak. What I mean is I watched it for a whole loop. I saw the doll of Andy Warhol playing the part of Don Knotts playing the part of some one else. I watched this insane character tell us we all came from fish. I don't think he was going for humor and if he was he missed his mark with me. This particular idea of the human race starting with fish and the characters chosen to present this were a theme throughout the piece. One of the characters was, I'm assuming, McKenzie himself. He seemed to be very contemplative. He listened to what the Warhol-Knotts man had to say and it made me want to care. It made me want to glean some sort of answer too. I couldn't get anything out of it.
I did enjoy the artists use of a bunch of different techniques, materials, and scenes. He used real people and dolls. He used dream sequences and real time scenery. I liked the falling dream of a doll modeled after the artist. He seemed to have taken a considerable amount of care in making the doll look like him. The doll had on the same clothing even down to the sneakers. To me the idea that he used a representation of himself as much as he used himself in the flesh was really honest. I think we all feel like representations of ourselves at one time or another.
I got the impression in class that this artist worked a lot with the concept of race relations and racism. I wish I had seen it in this piece. I am interested in the problem we face in this country when it comes to the divide in races. I am also interested on peoples views both on that problem and what they see as a possible solution. I didn't see a whole lot of deconstruction as far as that was concerned. The only thing that i saw that could relate to that was a time lapse scene in which McKenzie cuts open a basketball and expends a significant amount of effort on turning it inside out. He then glues it back together with a hot glue gun. You never see his face, just his hands and chest. There is no music playing in the background, just the sound of the basketball squeaking as he turns it in on itself. When he's done he has a basketball that's completely black. Who knew? Is that a comment on the options black people have in this country? Is it a comment on what black people have brought to the sport that white people still own and control? Has it got anything to do with race at all? Or am I just reaching?
When it came to matters of race I didn't see anything else that I thought pertained. I found the piece, or montage of pieces, wholly inaccessible. I found myself turned off by how little of it I was able to relate to and understand. I wanted more than he gave. I think he wanted to communicate more than he was able. In one scene the artist feeds a bird on his window sill. My favorite part. A real man feeds a real bird. That at least is a motivation i can understand.
I did enjoy the artists use of a bunch of different techniques, materials, and scenes. He used real people and dolls. He used dream sequences and real time scenery. I liked the falling dream of a doll modeled after the artist. He seemed to have taken a considerable amount of care in making the doll look like him. The doll had on the same clothing even down to the sneakers. To me the idea that he used a representation of himself as much as he used himself in the flesh was really honest. I think we all feel like representations of ourselves at one time or another.
I got the impression in class that this artist worked a lot with the concept of race relations and racism. I wish I had seen it in this piece. I am interested in the problem we face in this country when it comes to the divide in races. I am also interested on peoples views both on that problem and what they see as a possible solution. I didn't see a whole lot of deconstruction as far as that was concerned. The only thing that i saw that could relate to that was a time lapse scene in which McKenzie cuts open a basketball and expends a significant amount of effort on turning it inside out. He then glues it back together with a hot glue gun. You never see his face, just his hands and chest. There is no music playing in the background, just the sound of the basketball squeaking as he turns it in on itself. When he's done he has a basketball that's completely black. Who knew? Is that a comment on the options black people have in this country? Is it a comment on what black people have brought to the sport that white people still own and control? Has it got anything to do with race at all? Or am I just reaching?
When it came to matters of race I didn't see anything else that I thought pertained. I found the piece, or montage of pieces, wholly inaccessible. I found myself turned off by how little of it I was able to relate to and understand. I wanted more than he gave. I think he wanted to communicate more than he was able. In one scene the artist feeds a bird on his window sill. My favorite part. A real man feeds a real bird. That at least is a motivation i can understand.
Oscar Bonilla
Oscar Bonilla
Maman
The piece that I am going to be talking about is Louise Bourgeoisies 1996 Maman Piece or Spider piece. The reason why I have chosen to talk about this particular piece is because it’s a piece that grabbed my attention since I saw it on the ICA Boston website.
This particular piece stands at over ten feet tall and it is made completely out of bronze, bearing no color. After reading about it I discovered that this is one of her most famous pieces and that there are dozens of replicas of this piece that have been placed in different areas around the world some of which stand at more than 30 feet tall.
The gender representation on the Maman piece to me, looking at it from a point of view from a person who has never heard of the artist, is a male representation. To me it is more of a male representation because I believe that a spider is more commonly taken as a threatening insect, which implies a more threatening gender representation. It also gives me a male representation because of the position that he sculpture is put in. The sculpture or spider is put in a position where it looks like it’s getting ready to attack or to defend something and normally in gender representation the male is more of a the protecting or opposing figure. After reading more about Louise Bourgeois and knowing that she had a troubled childhood, I understood that the spider is actually intended to represent Louise’s mother, who in some ways was her protection or her comfort.
I believe that this piece is really effective because it grabs ones attention easily. Just the shire fact that it is a spider and it is something that not many people would choose to use in their art. Another thing that makes it effective is the size of the sculpture, which makes it easy to be intimidating.
I like this piece more than all of Louise’s other pieces because to me it is more of a stronger piece. I consider it to be more of a stronger piece because it could be interpreted in many different ways, for example it can be expressed as a piece that brings comfort or as a piece that is more imposing. I believe that you could interpret this piece depending on who you are and where you are coming from.
Maman
The piece that I am going to be talking about is Louise Bourgeoisies 1996 Maman Piece or Spider piece. The reason why I have chosen to talk about this particular piece is because it’s a piece that grabbed my attention since I saw it on the ICA Boston website.
This particular piece stands at over ten feet tall and it is made completely out of bronze, bearing no color. After reading about it I discovered that this is one of her most famous pieces and that there are dozens of replicas of this piece that have been placed in different areas around the world some of which stand at more than 30 feet tall.
The gender representation on the Maman piece to me, looking at it from a point of view from a person who has never heard of the artist, is a male representation. To me it is more of a male representation because I believe that a spider is more commonly taken as a threatening insect, which implies a more threatening gender representation. It also gives me a male representation because of the position that he sculpture is put in. The sculpture or spider is put in a position where it looks like it’s getting ready to attack or to defend something and normally in gender representation the male is more of a the protecting or opposing figure. After reading more about Louise Bourgeois and knowing that she had a troubled childhood, I understood that the spider is actually intended to represent Louise’s mother, who in some ways was her protection or her comfort.
I believe that this piece is really effective because it grabs ones attention easily. Just the shire fact that it is a spider and it is something that not many people would choose to use in their art. Another thing that makes it effective is the size of the sculpture, which makes it easy to be intimidating.
I like this piece more than all of Louise’s other pieces because to me it is more of a stronger piece. I consider it to be more of a stronger piece because it could be interpreted in many different ways, for example it can be expressed as a piece that brings comfort or as a piece that is more imposing. I believe that you could interpret this piece depending on who you are and where you are coming from.
Richard Holden
Art 297
9/30/07
ICA Assignment
The piece I chose to focus on is that of Josiah McElheny entitled “Czech Modernism Mirrored and Reflected Infinitely.” Josiah, who was born in Boston in 1966, is a modern artist known for his work with glass blowing, and he is a 2006 recipient of the MacArthur Fellows Program genius grant. Currently on display in the Accumnlations exhbiit, his piece is made up of several hand blown glass objects, notably decanters, reflected infinitely by the mirror case in which they are contained. Used to cover the case is one-way glass, which serves to prevent outside imgaes fom being reflected inside the piece, and also furthers to help reflect the objects inside, in order to create an infinite perspective when viewing the peice. This perspective created by continuous reflecitons, combined with the simplicity and roundness of the objects, combines to have a mesmorizing effect, as one tries to look deeper into the reflections. Depending from the angle the piece is viewed, it is possible to see countless reflections of the objects, as they seem to extend deeper into the ‘back’ of the case. The overall effect of viewing this piece is the loss of a sense of depth, which allows the onlooker to become lost in it.
The reason why I chose to focus on this piece was because when I first saw it, I thought that it was immediately eye catching. Unlike other pieces which were flat or simple, Josiah’s work was more interactive, as depending on where you stood, you could have a different perspective on the individual objects and how they were being reflected. From far away, the objects are more easily identifiable, but as you get closer to it, the more times you can see them being reflected, and the less distinguishable they become. While walking towards it you get the feeling that you are watching the objects pass through a tunnel, as they appear to move as the number of reflections grow the closer you get. This effect is very engaging, as it makes you want to observe the piece from every angle, in order to take in every possible perspective. I found myself more interested in viewing this piece than many of the others. While many were intriguing, such as Kelly Sherman’s “Wish List,” which was quite involving in itself in order to read the many lists, I thought that Josiah’s piece was more interesting. Because of just how simple his peiece is, consisting of just several objects encased in mirrors, it is more impersonal than other pieces, and also more futuristic, which is another reason for why I liked it. The infinite perspective and glass objects reminded me of The Twilight Zone, one of my favorite showsto watch growing up, which often used infinite perspecive to disalusion the viewer, and is another reason for why I chose this piece.
Art 297
9/30/07
ICA Assignment
The piece I chose to focus on is that of Josiah McElheny entitled “Czech Modernism Mirrored and Reflected Infinitely.” Josiah, who was born in Boston in 1966, is a modern artist known for his work with glass blowing, and he is a 2006 recipient of the MacArthur Fellows Program genius grant. Currently on display in the Accumnlations exhbiit, his piece is made up of several hand blown glass objects, notably decanters, reflected infinitely by the mirror case in which they are contained. Used to cover the case is one-way glass, which serves to prevent outside imgaes fom being reflected inside the piece, and also furthers to help reflect the objects inside, in order to create an infinite perspective when viewing the peice. This perspective created by continuous reflecitons, combined with the simplicity and roundness of the objects, combines to have a mesmorizing effect, as one tries to look deeper into the reflections. Depending from the angle the piece is viewed, it is possible to see countless reflections of the objects, as they seem to extend deeper into the ‘back’ of the case. The overall effect of viewing this piece is the loss of a sense of depth, which allows the onlooker to become lost in it.
The reason why I chose to focus on this piece was because when I first saw it, I thought that it was immediately eye catching. Unlike other pieces which were flat or simple, Josiah’s work was more interactive, as depending on where you stood, you could have a different perspective on the individual objects and how they were being reflected. From far away, the objects are more easily identifiable, but as you get closer to it, the more times you can see them being reflected, and the less distinguishable they become. While walking towards it you get the feeling that you are watching the objects pass through a tunnel, as they appear to move as the number of reflections grow the closer you get. This effect is very engaging, as it makes you want to observe the piece from every angle, in order to take in every possible perspective. I found myself more interested in viewing this piece than many of the others. While many were intriguing, such as Kelly Sherman’s “Wish List,” which was quite involving in itself in order to read the many lists, I thought that Josiah’s piece was more interesting. Because of just how simple his peiece is, consisting of just several objects encased in mirrors, it is more impersonal than other pieces, and also more futuristic, which is another reason for why I liked it. The infinite perspective and glass objects reminded me of The Twilight Zone, one of my favorite showsto watch growing up, which often used infinite perspecive to disalusion the viewer, and is another reason for why I chose this piece.
Chiho Aoshima is an artist without formal art training. She received her degree in economics. The mural was created by taking the image from a Macintosh G4 computer drawing and creates a large scale print on adhesive vinyl. Chiho Aoshima created the Divine Gas, a mural, just for the lobby.
On the mural, there is this giant woman who is lying in the grass. She reminds me of an anime cartoon – part human but also part of some super power. She is the biggest part of the mural, even larger than the tallest tree. She is nude but covered in long, flowing dark hair. It wraps around her and swirls in the air. The way that she landed almost makes her seem like she fell straight from the sky and landed clumsily on the ground, much like a young infant lying on her stomach. There is a slight halo affect from a rainbow around her head. Because of this, I would think that she would be like a god, perhaps a god or creator of smaller things, like the wind. The clouds behind her are in many cool hues, swirly and twisting from her behind. The giant woman seems to be part of this grouping but also like she is part of the weather pattern or nature. I have a fun sense of humor, so the Divine Gas was really amusing to me. Animals are shown with the woman in the quiet picture. Other people are included in the mural but the woman is the main focal point of this scene. There is a couple in the corner and then people made in the clouds, perhaps a monster of some type or a nightmare.
This is a great piece but I am not sure how others would take it. Here on display in front of the museum is this huge woman farting. It is quite beautiful but once I realized what the gas really was, I was distracted for quite some time by it. I think that it is an effective piece that brings together femininity and farts but at the same time, I am also a little disappointed by it. Digital media can be beautiful but I am also wondering what other way this art could have been portrayed and had just as much of an impact.
-Charlene N.
On the mural, there is this giant woman who is lying in the grass. She reminds me of an anime cartoon – part human but also part of some super power. She is the biggest part of the mural, even larger than the tallest tree. She is nude but covered in long, flowing dark hair. It wraps around her and swirls in the air. The way that she landed almost makes her seem like she fell straight from the sky and landed clumsily on the ground, much like a young infant lying on her stomach. There is a slight halo affect from a rainbow around her head. Because of this, I would think that she would be like a god, perhaps a god or creator of smaller things, like the wind. The clouds behind her are in many cool hues, swirly and twisting from her behind. The giant woman seems to be part of this grouping but also like she is part of the weather pattern or nature. I have a fun sense of humor, so the Divine Gas was really amusing to me. Animals are shown with the woman in the quiet picture. Other people are included in the mural but the woman is the main focal point of this scene. There is a couple in the corner and then people made in the clouds, perhaps a monster of some type or a nightmare.
This is a great piece but I am not sure how others would take it. Here on display in front of the museum is this huge woman farting. It is quite beautiful but once I realized what the gas really was, I was distracted for quite some time by it. I think that it is an effective piece that brings together femininity and farts but at the same time, I am also a little disappointed by it. Digital media can be beautiful but I am also wondering what other way this art could have been portrayed and had just as much of an impact.
-Charlene N.
Spider by Bourgeois
Eva Bigonet
Art 297/Section 2
9/30/07
The Institute of Contemporary Art Assignment
After having contemplated the different artists and their work, I was drawn to Louise Bourgeois’ work. Bourgeois was born in Paris 1911, but has since many years lived in New York City. I believe she is still an active artist at 95! She is interesting because she lets the audience get a glimpse of the drama in her early life. She says, “All my work…all my subjects, have found their inspiration in my childhood. My childhood has never lost its magic, it has never lost its mystery, and it has never lost its drama" (Louise Bourgeois). Magic, mystery and drama are compelling, and just reading this sentence pulled me in. Sometimes artists and their expressions don’t make sense to me, but I felt rapport with Bourgeois.
As a girl she struggled with mixed feelings over her father’s extramarital affairs and her mother’s acceptance of them. I was intrigued by how her childhood drama has influenced her art. Among her themes are sexuality, body, trauma, anxiety, and family dynamics. These subjects are interesting to a psychology major, or at least it is to me. Many of her sculptures at ICA show body parts cut off or missing, symbolizing struggle and hardship in life.
As a child Bourgeois helped her parents in their tapestry restoration business. Therefore early on she began to acquire skills for her career, as she came to work with a variety of mediums for her sculptures, such as wood, fabric, rubber, bronze, steel and marble. Growing up, she had a close and warm relationship with her mother, but unfortunately her mother died when Bourgeois was twenty-one years old. For what seems to me a mysterious reason, Bourgeois saw the spider as homage to her mother, representing “maternal love, protection, fragility, and industriousness” (Bourgeois). In my opinion, one of her most impressive works at ICA is Spider (1996), an eleven-feet tall sculpture made of bronze, stainless steel and marble.
The spider is black, huge and rather creepy. I have always been afraid of spiders, especially big ones. Therefore, I am fascinated that Bourgeois sees the spider as a friendly, protective, motherly, and hard-working creature. I suppose, just like her mother, the spider weaves its tapestry (web) and is a diligent worker. Her view of the spider as a symbol of Mother is rather sweet, and it helps me question why I think spiders are disgusting?
The other thing that I am fascinated by is the sculpture’s size – eleven feet tall. I think what makes it successful, is its enormous size and its creepy look. The dichotomy between the spider’s intimidating appearance, (I mean it could easily be one of the creatures in a horror movie where giant insects have come to attack the earth), and the symbolic representation of motherly safekeeping, vulnerability, and diligence makes the sculpture especially effective.
Art 297/Section 2
9/30/07
The Institute of Contemporary Art Assignment
After having contemplated the different artists and their work, I was drawn to Louise Bourgeois’ work. Bourgeois was born in Paris 1911, but has since many years lived in New York City. I believe she is still an active artist at 95! She is interesting because she lets the audience get a glimpse of the drama in her early life. She says, “All my work…all my subjects, have found their inspiration in my childhood. My childhood has never lost its magic, it has never lost its mystery, and it has never lost its drama" (Louise Bourgeois). Magic, mystery and drama are compelling, and just reading this sentence pulled me in. Sometimes artists and their expressions don’t make sense to me, but I felt rapport with Bourgeois.
As a girl she struggled with mixed feelings over her father’s extramarital affairs and her mother’s acceptance of them. I was intrigued by how her childhood drama has influenced her art. Among her themes are sexuality, body, trauma, anxiety, and family dynamics. These subjects are interesting to a psychology major, or at least it is to me. Many of her sculptures at ICA show body parts cut off or missing, symbolizing struggle and hardship in life.
As a child Bourgeois helped her parents in their tapestry restoration business. Therefore early on she began to acquire skills for her career, as she came to work with a variety of mediums for her sculptures, such as wood, fabric, rubber, bronze, steel and marble. Growing up, she had a close and warm relationship with her mother, but unfortunately her mother died when Bourgeois was twenty-one years old. For what seems to me a mysterious reason, Bourgeois saw the spider as homage to her mother, representing “maternal love, protection, fragility, and industriousness” (Bourgeois). In my opinion, one of her most impressive works at ICA is Spider (1996), an eleven-feet tall sculpture made of bronze, stainless steel and marble.
The spider is black, huge and rather creepy. I have always been afraid of spiders, especially big ones. Therefore, I am fascinated that Bourgeois sees the spider as a friendly, protective, motherly, and hard-working creature. I suppose, just like her mother, the spider weaves its tapestry (web) and is a diligent worker. Her view of the spider as a symbol of Mother is rather sweet, and it helps me question why I think spiders are disgusting?
The other thing that I am fascinated by is the sculpture’s size – eleven feet tall. I think what makes it successful, is its enormous size and its creepy look. The dichotomy between the spider’s intimidating appearance, (I mean it could easily be one of the creatures in a horror movie where giant insects have come to attack the earth), and the symbolic representation of motherly safekeeping, vulnerability, and diligence makes the sculpture especially effective.
Narong's ICA Reflection
Narong Sokhom
The piece of work I found most controversial was Julian Opie’s Suzanne walking in leather skirt (2006), which is located in the ICA‘s permanent collection called Accumulations. Born 1958 in London, England, Opie uses contemporary media such as digital enhanced drawing, photography, and animation to point out his subject matter of landscape or portraiture. In this particular artwork, Opie creates a continuous computer animation on a 46 inch LCD computer screen. The “walking portrait” focuses on the swaying hips or the portrayal of a woman’s stride. The black and white animation reduces the specificity of the face and the figure. Instead, the figure is specified in the contours of the shoulders, body, and legs. The only detailed part of the work is the leather skirt. It truly captures the represented motion of a woman. The techniques he used with the contours of the body makes it look so accurate in the most life-like way. I thought this may be controversial because not all women walk in the specific way and that it describes the way people view woman today. The thinness of the figure also contributes to the gender representation. Just because some women, including models, walk in such a way, doesn’t necessarily make it a woman’s stride.
This portraiture took my attention mostly because it was an animated artwork that was used to describe something greater. Personally, I was impressed with the overall “walking” motion. I think that he really did well in this piece because by lessening details of the actual figure, it focused the audience‘s concentration on the unique stride. The style of the portrait by using advanced technology, I think is very effective. When I saw this, I focused my attention to the “walk”. It’s as if the artist was trying to show one of many aspects that people often view women as. I wonder how you would describe, then, of a man’s walk. Are there no specificity towards their walking style? Could some possibly walk in the portrayed style in this artwork or is a man’s figure contoured differently? I also thought about if had to do with the various ages. Is it of an older woman or would it be different if it was a young adult? I thought to myself and concluded that I don’t often see women walk that way, or is it because they don’t have that “figure”? The simplicity of the artwork caused me to raise questions in which other factors contributed to the creation of the artwork, such as gender, age, and maybe the various types of communities.
The piece of work I found most controversial was Julian Opie’s Suzanne walking in leather skirt (2006), which is located in the ICA‘s permanent collection called Accumulations. Born 1958 in London, England, Opie uses contemporary media such as digital enhanced drawing, photography, and animation to point out his subject matter of landscape or portraiture. In this particular artwork, Opie creates a continuous computer animation on a 46 inch LCD computer screen. The “walking portrait” focuses on the swaying hips or the portrayal of a woman’s stride. The black and white animation reduces the specificity of the face and the figure. Instead, the figure is specified in the contours of the shoulders, body, and legs. The only detailed part of the work is the leather skirt. It truly captures the represented motion of a woman. The techniques he used with the contours of the body makes it look so accurate in the most life-like way. I thought this may be controversial because not all women walk in the specific way and that it describes the way people view woman today. The thinness of the figure also contributes to the gender representation. Just because some women, including models, walk in such a way, doesn’t necessarily make it a woman’s stride.
This portraiture took my attention mostly because it was an animated artwork that was used to describe something greater. Personally, I was impressed with the overall “walking” motion. I think that he really did well in this piece because by lessening details of the actual figure, it focused the audience‘s concentration on the unique stride. The style of the portrait by using advanced technology, I think is very effective. When I saw this, I focused my attention to the “walk”. It’s as if the artist was trying to show one of many aspects that people often view women as. I wonder how you would describe, then, of a man’s walk. Are there no specificity towards their walking style? Could some possibly walk in the portrayed style in this artwork or is a man’s figure contoured differently? I also thought about if had to do with the various ages. Is it of an older woman or would it be different if it was a young adult? I thought to myself and concluded that I don’t often see women walk that way, or is it because they don’t have that “figure”? The simplicity of the artwork caused me to raise questions in which other factors contributed to the creation of the artwork, such as gender, age, and maybe the various types of communities.
Saturday, September 29, 2007
JIHEE- ICA
JIHEE YOON
09/30/07
When I arrived ICA, I just had one hours and half minite. So I should inspect very quickly. First of all, I want to chose one of the my favorite pop artist Chiho Aoshima's production that is The divine gas. She was born 1974 in Tokyo in Japan. She is a Japanese pop artist and member of Takashi Murakami's Kaikai kiki collective.
The divine gas, depicts a giant girl lying in a lush land scape. The setting seems idylic and serenebirds soar, a deer nestles near her foot, a couple frolic hand in hand. A gaint girl is crying she looks like tumble down. A little girl sit in the clouds and look at a gaint girl. Many people are falling down from clounds to land. This graphic gave to many thinking and curious. We should imagine self why she did. The artist is using mystery coloer that is many kinds of violet color. The divine gas is digital print, It is 26ft.2in/40ft.1in. Second I want to chose Suzanue walking in leather skirt. It is Julain Opie's production. Julian Opie was born in Britain in 1958. His distinctive metal sculptures with household objects painted on their surfaces established his repitation in the early 1980s. This production is very simple a women is walking. It looks so simple but it has a lot of detail. A women did not have eyes, nose, lips... But We can imagine her expression.
09/30/07
When I arrived ICA, I just had one hours and half minite. So I should inspect very quickly. First of all, I want to chose one of the my favorite pop artist Chiho Aoshima's production that is The divine gas. She was born 1974 in Tokyo in Japan. She is a Japanese pop artist and member of Takashi Murakami's Kaikai kiki collective.
The divine gas, depicts a giant girl lying in a lush land scape. The setting seems idylic and serenebirds soar, a deer nestles near her foot, a couple frolic hand in hand. A gaint girl is crying she looks like tumble down. A little girl sit in the clouds and look at a gaint girl. Many people are falling down from clounds to land. This graphic gave to many thinking and curious. We should imagine self why she did. The artist is using mystery coloer that is many kinds of violet color. The divine gas is digital print, It is 26ft.2in/40ft.1in. Second I want to chose Suzanue walking in leather skirt. It is Julain Opie's production. Julian Opie was born in Britain in 1958. His distinctive metal sculptures with household objects painted on their surfaces established his repitation in the early 1980s. This production is very simple a women is walking. It looks so simple but it has a lot of detail. A women did not have eyes, nose, lips... But We can imagine her expression.
Lynn H_ICA Museum
I chose to reflect upon the Chiho Aoshima mural “The Divine Gas.” Aoshima was born in Tokyo, Japan, in 1974, where she currently lives and works. The mural is made from digital drawings and inkjet printing on adhesive vinyl strips. The sheer size of the piece is breath taking. I previewed the piece on the Internet and it in no way does the mural justice. The mural, a staggering 26 ft. 2 in. x 40 ft 1 in., is overwhelming as it is positioned in the museum so it can be viewed upon entering the building.
I love the colors Aoshima opted to use, and I feel they are appropriate for the piece. The sharp defined lines in the foreground pop against the soft blended hodgepodge of colors in the background. The lush landscape that the girl is laying in evokes a sense of serenity and peacefulness. Then, the mood changes with the billowing cloud that comes from the girl’s bottom. The girl’s flowing hair gives the viewer direction in viewing the piece. I found myself following the long strands to various other portions of the piece. The hair led me to the frolicking couple, to the trees and landscape, to the rainbow, and to the entire scene in the clouds. The light colors contrast with the dark colors and create a theme of light and dark or good and evil.
Aoshima’s mural shares many aspects with some of her other pieces. The physical characteristics of the girl are similar to that of other characters within Aoshima. What I found most intriguing was surprisingly not the cloud coming from the girl’s bottom, but instead was her face. Her facial expression presents a sense of innocence in the girl. Also, her eyes are quite detailed and have small scenes within them. Each eye has a city scene within; one portrays the night and the other, the day. This incredible use of detail impressed me a great deal.
The mural relates to gender identity in such that it presents the young female figure as being the stereotypical innocent young woman. Also the girl is nude and is only covered due to the position of her body and her hair. I feel the piece is very cleverly and appropriately titled “The Divine Gas.” I really enjoyed this piece for several reasons. First the vivid colors caught my eye. Then, I looked more closely at the piece and saw where that cloud was coming from, and I admit I laughed a little. Finally, the mural has so much going on at once and so much attention was paid to detail by the artist that it held my interest for a long time, longer than most pieces usually do. Because the mural is so large I was able to thoroughly focus on one section at a time, yet also view the piece as a whole.
I love the colors Aoshima opted to use, and I feel they are appropriate for the piece. The sharp defined lines in the foreground pop against the soft blended hodgepodge of colors in the background. The lush landscape that the girl is laying in evokes a sense of serenity and peacefulness. Then, the mood changes with the billowing cloud that comes from the girl’s bottom. The girl’s flowing hair gives the viewer direction in viewing the piece. I found myself following the long strands to various other portions of the piece. The hair led me to the frolicking couple, to the trees and landscape, to the rainbow, and to the entire scene in the clouds. The light colors contrast with the dark colors and create a theme of light and dark or good and evil.
Aoshima’s mural shares many aspects with some of her other pieces. The physical characteristics of the girl are similar to that of other characters within Aoshima. What I found most intriguing was surprisingly not the cloud coming from the girl’s bottom, but instead was her face. Her facial expression presents a sense of innocence in the girl. Also, her eyes are quite detailed and have small scenes within them. Each eye has a city scene within; one portrays the night and the other, the day. This incredible use of detail impressed me a great deal.
The mural relates to gender identity in such that it presents the young female figure as being the stereotypical innocent young woman. Also the girl is nude and is only covered due to the position of her body and her hair. I feel the piece is very cleverly and appropriately titled “The Divine Gas.” I really enjoyed this piece for several reasons. First the vivid colors caught my eye. Then, I looked more closely at the piece and saw where that cloud was coming from, and I admit I laughed a little. Finally, the mural has so much going on at once and so much attention was paid to detail by the artist that it held my interest for a long time, longer than most pieces usually do. Because the mural is so large I was able to thoroughly focus on one section at a time, yet also view the piece as a whole.
Brett- Contemporary Art
Brett Jackson
9/29/07
Art 297
Contemporary Art
Cornelia Parker has a work in the Institute of Contemporary Art in Boston called “Hanging Fire (suspected arson)”. It’s a group of hanging pieces of charcoal, with smaller ones more towards the top and larger pieces settled near the center of the bottom. It’s like there is a fire, but no flames can be seen. The invisible heat pushing the light pieces up and the group of larger charcoal bits stick to the bottom as fuel for the missing blaze. Parker said that she liked using charcoal because it has a second life to it. It’s a leftover from a fire, but you can still use it as fuel, like a second life after being used up.
The charcoal chunks she used were from a burnt building in a suspected arson case, so it is a found object art piece. She stole the bits from the scene of the supposed crime. It’s a testament to making something out of a violent act like the arson of the woodshop in London.
It must have been a pain to re-suspend the whole thing in the same order when they moved it to the new ICA.
I like that it is a large work. Being twelve feet tall really makes you take notice. And when I came around the corner it is a surprise. I didn’t really like most of the other pieces, mostly because I guess I don’t really appreciate the “modern” more symbolic artworks, but this piece of Ms. Parker’s stood out to me. Even though it didn’t apply to the current discussion in class, I figured I should write about what I liked the most. I also liked the steel rabbit because I really thought it was one of those Mylar balloons and the cube of pins simply because I didn’t think that the pins would stay in formation when the box frame was taken away if there was nothing used to secure them. I liked the sort of horseshoe crab shaped sculpture that was built right into the showroom wall.
9/29/07
Art 297
Contemporary Art
Cornelia Parker has a work in the Institute of Contemporary Art in Boston called “Hanging Fire (suspected arson)”. It’s a group of hanging pieces of charcoal, with smaller ones more towards the top and larger pieces settled near the center of the bottom. It’s like there is a fire, but no flames can be seen. The invisible heat pushing the light pieces up and the group of larger charcoal bits stick to the bottom as fuel for the missing blaze. Parker said that she liked using charcoal because it has a second life to it. It’s a leftover from a fire, but you can still use it as fuel, like a second life after being used up.
The charcoal chunks she used were from a burnt building in a suspected arson case, so it is a found object art piece. She stole the bits from the scene of the supposed crime. It’s a testament to making something out of a violent act like the arson of the woodshop in London.
It must have been a pain to re-suspend the whole thing in the same order when they moved it to the new ICA.
I like that it is a large work. Being twelve feet tall really makes you take notice. And when I came around the corner it is a surprise. I didn’t really like most of the other pieces, mostly because I guess I don’t really appreciate the “modern” more symbolic artworks, but this piece of Ms. Parker’s stood out to me. Even though it didn’t apply to the current discussion in class, I figured I should write about what I liked the most. I also liked the steel rabbit because I really thought it was one of those Mylar balloons and the cube of pins simply because I didn’t think that the pins would stay in formation when the box frame was taken away if there was nothing used to secure them. I liked the sort of horseshoe crab shaped sculpture that was built right into the showroom wall.
Friday, September 28, 2007
ICA field trip
I really enjoyed Chiho Aoshima’s wall mural The Divine Gas, made from digital drawings and inkjet printing on adhesive vinyl strips. I am inspired by traditional Japanese artwork, and when I first saw the small brochure without knowing her name, I immediately saw traditional and contemporary Japanese art elements within it. Actually seeing it up close was much more satisfying, as there are such tiny details that can’t be seen in the small reproduction. I really liked how there were reflections of cities in the largest female’s eyes, with one during the day and one at night. It gave even more of a surrealness to it, since we're looking into or through her eyes into another world, almost.
The animals (deer, snakes, gecko) reminded me of sumi-e with most subject matter consisting of natural objects such as plants, flowers, and/or animals. Even though she says that she's not inspired directly by anime or manga, I thought A description of the piece mentioned the "superflat" theory by Murakami, at whose factory she works at. Manga and anime have some influence for the "superflat" theory, so indirectly I feel she has been influenced. The way the individual hair strands flowed in the center of her work and the way in which they were drawn are what I think is the main reason why I think of the anime/manga influence.
Her composition worked well with the diagonal slant of the ceiling; I don't feel like something is missing or secluded from view. The diagonal also helps with moving the eye around, as well as the sheer size, forcing the viewer to move around to see everything. I also found it really interesting that all of the people were female (at least I think they were all female, I couldn’t really tell if the figure in all black was female or male, or just androgynous). The people also were very child-like.
I really loved the color palette of mostly blues and greens. Even though there were plenty of rainbow elements scattered throughout the piece, they didn’t clash with or distract from the overall color scheme. I’m partial to greens, blues, and purples, so that may be why I was attracted to the piece.
Another piece I really enjoyed at the museum was Cornelia Parker’s Hanging Fire (Suspected Arson), created with wire mesh, charcoal, wire, pins, and nails. I thought the charcoal pieces were huge chunks of graphite at first, and definitely got a feeling of upwards motion with the larger pieces at all different angles hanging near the bottom. I didn’t see the nails until I read the description that they were charred remains of a woodworking shop. After reading it I got an explosive feeling. It’s contrast with the white walls behind it does resemble that of a charcoal drawing, but created with the actual elements it has more power in that it’s a recreation yet at the same time it isn’t.
P.S. The computer lab room is really awesome. I felt like I was going to fall into the sea. =D
Veneliza
The animals (deer, snakes, gecko) reminded me of sumi-e with most subject matter consisting of natural objects such as plants, flowers, and/or animals. Even though she says that she's not inspired directly by anime or manga, I thought A description of the piece mentioned the "superflat" theory by Murakami, at whose factory she works at. Manga and anime have some influence for the "superflat" theory, so indirectly I feel she has been influenced. The way the individual hair strands flowed in the center of her work and the way in which they were drawn are what I think is the main reason why I think of the anime/manga influence.
Her composition worked well with the diagonal slant of the ceiling; I don't feel like something is missing or secluded from view. The diagonal also helps with moving the eye around, as well as the sheer size, forcing the viewer to move around to see everything. I also found it really interesting that all of the people were female (at least I think they were all female, I couldn’t really tell if the figure in all black was female or male, or just androgynous). The people also were very child-like.
I really loved the color palette of mostly blues and greens. Even though there were plenty of rainbow elements scattered throughout the piece, they didn’t clash with or distract from the overall color scheme. I’m partial to greens, blues, and purples, so that may be why I was attracted to the piece.
Another piece I really enjoyed at the museum was Cornelia Parker’s Hanging Fire (Suspected Arson), created with wire mesh, charcoal, wire, pins, and nails. I thought the charcoal pieces were huge chunks of graphite at first, and definitely got a feeling of upwards motion with the larger pieces at all different angles hanging near the bottom. I didn’t see the nails until I read the description that they were charred remains of a woodworking shop. After reading it I got an explosive feeling. It’s contrast with the white walls behind it does resemble that of a charcoal drawing, but created with the actual elements it has more power in that it’s a recreation yet at the same time it isn’t.
P.S. The computer lab room is really awesome. I felt like I was going to fall into the sea. =D
Veneliza
Wednesday, September 26, 2007
ART 297 ICA review B. Beatrice
Bethany Beatrice
Digital Imaging
ICA Assignment
9/26/07
Though "The Divine Gas" is not one of the pieces I chose to focus on, I decided to comment on it considering it is so in your face as soon as you walk into the new ICA. I had seen the piece, by Chiho Aoshima, before on the ICA webpage. Seeing it online, I wasn’t able to get past anything but the content of the piece, which I thought was foolish. Seeing it in person, the sheer size of it overwhelmed me. I had missed so many details before. The use of color throughout the piece is truly magnificent. I disagree, and am generally appalled with the pamphlet reference and comparison of the piece with Hieronymus Bosch’s Garden of Earthly Delights (c.1500). I personally would n ot draw connections between these two pieces. In general though, Aoshima does create an alternate and ornate universe in this piece.
The pieces I chose to discuss were Louise Bourgeois’s "Spiral Woman" (1984) and Lia Cook’s "Binary Traces: Kay" (2005) from the Design Life Now Exhibit.
"Spiral Woman" is constructed of bronze with a slate disc. The piece shows the dangling limbs of a woman with the rest of her body being consumed by this spiraling force. To me, the body looks as though it is being weighed down by the force. The spiral could represent the struggles of being a woman, having to keep some sort of control during chaos or unexpected obstacles. To me, there seems to be a balance of control and chaos in the piece. The text panel also suggests the idea of vulnerability in the piece. By being a woman, one is immediately place in a vulnerable position where they need to balance the chaos in their own life and the lives of those around them.
The other piece that really fascinated me was Cook’s "Binary Traces: Kay". The piece is constructed of woven cotton, black and off-white. It appears that there is a photographic image of a woman’s face woven together. From far away, the image is very clear. Up close, the image jumbles together in many fragments of fabric. The piece not only has a photographic quality, but also a painting-like quality, which is very interesting because it is achieved by using digital techniques. According to the text panel, the process used to make this piece involves using a photographic media, computer aided technologies and a hand and machine powered Jacquard loom. Cook scans the photos and manipulates them on the computer. She is able to play with the scale, detail and focus of the image. The effect of this image woven together is rather striking and very interesting and incredibly realistic.
Digital Imaging
ICA Assignment
9/26/07
Though "The Divine Gas" is not one of the pieces I chose to focus on, I decided to comment on it considering it is so in your face as soon as you walk into the new ICA. I had seen the piece, by Chiho Aoshima, before on the ICA webpage. Seeing it online, I wasn’t able to get past anything but the content of the piece, which I thought was foolish. Seeing it in person, the sheer size of it overwhelmed me. I had missed so many details before. The use of color throughout the piece is truly magnificent. I disagree, and am generally appalled with the pamphlet reference and comparison of the piece with Hieronymus Bosch’s Garden of Earthly Delights (c.1500). I personally would n ot draw connections between these two pieces. In general though, Aoshima does create an alternate and ornate universe in this piece.
The pieces I chose to discuss were Louise Bourgeois’s "Spiral Woman" (1984) and Lia Cook’s "Binary Traces: Kay" (2005) from the Design Life Now Exhibit.
"Spiral Woman" is constructed of bronze with a slate disc. The piece shows the dangling limbs of a woman with the rest of her body being consumed by this spiraling force. To me, the body looks as though it is being weighed down by the force. The spiral could represent the struggles of being a woman, having to keep some sort of control during chaos or unexpected obstacles. To me, there seems to be a balance of control and chaos in the piece. The text panel also suggests the idea of vulnerability in the piece. By being a woman, one is immediately place in a vulnerable position where they need to balance the chaos in their own life and the lives of those around them.
The other piece that really fascinated me was Cook’s "Binary Traces: Kay". The piece is constructed of woven cotton, black and off-white. It appears that there is a photographic image of a woman’s face woven together. From far away, the image is very clear. Up close, the image jumbles together in many fragments of fabric. The piece not only has a photographic quality, but also a painting-like quality, which is very interesting because it is achieved by using digital techniques. According to the text panel, the process used to make this piece involves using a photographic media, computer aided technologies and a hand and machine powered Jacquard loom. Cook scans the photos and manipulates them on the computer. She is able to play with the scale, detail and focus of the image. The effect of this image woven together is rather striking and very interesting and incredibly realistic.
Friday, September 21, 2007
Library scultor
Okay, I'll write it. It looks like a big black condom. Maybe thats what the artist intended.
Rob
Wednesday, September 19, 2007
ASSIGNMENT DUE 9/30 MIDNIGHT
CLASS WILL NOT MEET September 24 or 26.
COMPLETE THE FOLLOWING SITE VISIT AND WRITTEN RESPONSE BY SUNDAY 9/30 MIDNIGHT.
Visit the Institute for Contemporary Art (ICA) and see the exhibits, including:
MOMENTUM 8: DAVE MCKENZIE
Present Tense considers the possibilities, limits, and consequences of self-transformation.
ACCUMULATIONS
The second installation of the ICA's permanent collection, looks at how artists combine elements into experiences beyond measure.
BOURGEOIS IN BOSTON
Sculpture, prints, and drawings from one of the most influential living artists.
SANDRA AND GERALD FINEBERG ART WALL
Chiho Aoshima created a monumental, mind-bending mural for the ICA lobby.
Pick one or two pieces to write a one-page (about 400-500 words) written reaction. This should include who the artist is, the title of the piece, a summary of the materials used to create it --(is it a painting, video, sculpture, digital print, animation?) Describe the form, color, and composition; explore issues of gender or race representation, as we discussed in class. The writing should include your reflection on the piece, if it is effective, if and why you like it. To get a fuller idea of the artist’s intentions, be sure to read the text panel documentation next to the work as well as visit the Mediatheque (computer lab for patrons) and explore the interviews and writing about the artist you chose.
Institute for Contemporary Art (ICA)
http://www.icaboston.org
ADMISSION IS *FREE THURSDAYS FROM 5PM – 9PM
$10 with student ID on other days and times
Museum Hours
Tuesday and Wednesday 10 am - 5 pm
Thursday and Friday 10 am - 9 pm
Saturday and Sunday 10 am - 5 pm
MUSUEM IS CLOSED MONDAY.
SUBMIT YOUR WRITTEN RESPONSE TO THIS BLOG.
DIRECTIONS
Via public transportation
Take the Red Line to South Station. At South Station take the Silver Line to the World Trade Center stop. Exit left onto Congress Street. Walk one block to the corner of B Street and turn right, crossing Congress Street. Follow B Street for one block. At the corner of B Street and Seaport Boulevard cross the street and turn left. At the next corner, turn right onto Northern Avenue. The ICA is on the right. You will pass the entrance to Anthony’s Pier 4 and two parking lots before coming to the driveway leading to the ICA entrance.
Read morea bout ICA directions and parking here
COMPLETE THE FOLLOWING SITE VISIT AND WRITTEN RESPONSE BY SUNDAY 9/30 MIDNIGHT.
Visit the Institute for Contemporary Art (ICA) and see the exhibits, including:
MOMENTUM 8: DAVE MCKENZIE
Present Tense considers the possibilities, limits, and consequences of self-transformation.
ACCUMULATIONS
The second installation of the ICA's permanent collection, looks at how artists combine elements into experiences beyond measure.
BOURGEOIS IN BOSTON
Sculpture, prints, and drawings from one of the most influential living artists.
SANDRA AND GERALD FINEBERG ART WALL
Chiho Aoshima created a monumental, mind-bending mural for the ICA lobby.
Pick one or two pieces to write a one-page (about 400-500 words) written reaction. This should include who the artist is, the title of the piece, a summary of the materials used to create it --(is it a painting, video, sculpture, digital print, animation?) Describe the form, color, and composition; explore issues of gender or race representation, as we discussed in class. The writing should include your reflection on the piece, if it is effective, if and why you like it. To get a fuller idea of the artist’s intentions, be sure to read the text panel documentation next to the work as well as visit the Mediatheque (computer lab for patrons) and explore the interviews and writing about the artist you chose.
Institute for Contemporary Art (ICA)
http://www.icaboston.org
ADMISSION IS *FREE THURSDAYS FROM 5PM – 9PM
$10 with student ID on other days and times
Museum Hours
Tuesday and Wednesday 10 am - 5 pm
Thursday and Friday 10 am - 9 pm
Saturday and Sunday 10 am - 5 pm
MUSUEM IS CLOSED MONDAY.
SUBMIT YOUR WRITTEN RESPONSE TO THIS BLOG.
DIRECTIONS
Via public transportation
Take the Red Line to South Station. At South Station take the Silver Line to the World Trade Center stop. Exit left onto Congress Street. Walk one block to the corner of B Street and turn right, crossing Congress Street. Follow B Street for one block. At the corner of B Street and Seaport Boulevard cross the street and turn left. At the next corner, turn right onto Northern Avenue. The ICA is on the right. You will pass the entrance to Anthony’s Pier 4 and two parking lots before coming to the driveway leading to the ICA entrance.
Read morea bout ICA directions and parking here
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