Alex and Shellie questions

1.  How important is the process of destroying something ( personal object/ mental image/photograph)  to create a piece of work that is abstract?  I guess that depends on how much the object needs to be destroyed or how much the artist needs to destroy it to get what they are looking for.

2.  In your own work, how do you feel that the medium that you choose best expresses your meaning, message & own truth? I try to choose my medium to best translate what I really want to get across to people though my work, sometimes it works, sometimes it doesn’t.

3.  In your opinion, why do you think that the Gerald Peters Gallery mainly selected Fair's photos for their abstract impact? (not showing the photographs of the smokestacks & factories).  Do you believe that these particular abstract photos were selected because of an "over-all" sense of platonic beauty? Do you believe that the GP Gallery wanted to appeal to the "masses" in order to make a better sale?  If anything I think that it’s a little bit of both because I’m sure that they want the work to both look beautiful and appeal to everyone else in order to make a sale.

4.  What are the similarities between art & documentation? If anything I’d say that there are times where the documentations of the work is the art.

5.  In my own work, do you feel that i convey a sense of environment & mood? Yes.

6.  Do you feel that the process & materials that i use, best expresses my message in my paintings?  If not, then please explain what materials would work best for the execution & final outcome of my work. Yes.

7.  How important is the use of scale in your own work? Scale is a main thing in my work because if something is one size it means something and if it’s another size it could mean something completely different. And do you believe that i use an appropriate size & scale for my paintings? Yes.

8.  What do you think of my color palette for my paintings?  What colors do you think I should use in my next painting. If anything I think that your color palette is the best thing about your, and I would like to see you go further with that and maybe use colors and combinations with colors you haven’t used.

Questions:

1. After reading this article analyzing Woody’s work do you feel like his movies mock how contemporary art classes approach talking about art? Why? In a way yes, it seems that the classes may go too deep or think too much into things.

2. Do you ever feel surrounded by people that you need to impress/fake being overly excited or emotional about your work? If you do ever fake these emotions, why? I used to feel like this, but I don’t any more because I stopped caring, and that I really only make my art for me and me only.

3. Would you say you art leans more towards needing emotional or intellectual appreciation? Does this relate to the aesthetics? Yes I think it does and if anything I think that art needs both emotional and intellectual appreciation.

4. Do you care about how your work looks while your creating it? Do you ever step back and move something around just because it looks bad? Does the work become less intellectual if this happens? Explain. I don’t worry about that while I’m creating it, although I may change or move something around because I don’t like it but other than that I really don’t think it changes anything intellectual.

5. When you view my art do you have any intellectual response? If not does this mean my work has no aesthetic value based on what the chapter requires for a meaningful aesthetic response. For the most part, yes.

6. Where is your fulcrum between intellect and emotion when creating your work on a scale of 1-10. 1 leaning more towards intellect and 10 being more towards emotion. Where is mine? I think mine is about an 8 and if people have more intellect about it, then that’s just icening on the cake, but for yours I’d like to say that you’re about a 5 or 6 because you seem t have both in your art.

7. Why do you think I tend to reject intellectualizing art? To be honest I really don’t know, but I’m sure you have your reasons as do I.

8. I would consider my work to be relaxing to the viewer. Do you agree/why?  Yes I do agree that your work is relaxing to the viewer and to myself as well, mostly due to your subject in which you make your art about and I also think that your color palette adds to that.

Jeffery's questions

What is "blocking" the students from comprehending McLuhan's message to them? It seems that the way the student live and communicate in their lifestyles is different than McLuhan’s which is blocking and preventing them from understanding.

How does McLuhan feel about the educational system he is involved in? It seems as though he thinks that it’s a little on the useless side and that why we even have it to begin with.

Do you fully understand McLuhan's message? What do you think he means? To be honest I’m not too sure of what the exact message is but it seems to be about the what we communicate today.

This recording was made many years ago... before the internet. Are there any predictions or observations made by McLuhan which are poignant in relationship to our present time? That the way we communicate, if anything, it’s through some sort of technology and less face to face.

Is the medium the "message", or just the "massage"? I think that it adds to the message but I don’t think that it is the message it’s more of the massage.

What is the psychological difference between hi-def and low-def media? One is more clear and more restored than the other.

Do you think there may be a direct relationship between the intellectual/artistic/cultural value of a meme and its viral impact? Personally no, although some of the people who put the memes can seem to take it very seriously as if it was art while some just want it to be funny or they just want to be famous.

What is the psychological difference between viewing a traditional drawing on a computer screen at a high resolution, or viewing the unmediated drawing on a well-lit wall? I’d say that it’s close to the same, the color may be slightly different, but the difference would be if you see it on a computer you just see the image but if you see it on a well lit wall you see it for what it really is, texture and all.

Jen and Kris questions

1.  What is meant by a poor image? It seems to mean something that is of poor quality much like something that is copied or something that isn’t clear.

2.  What is meant by the contemporary hierarchy of images? I think it’s meant to be more of a timetable of how poor images became images of better quality.

3. What qualifies a work as experimental? Things that I see that qualifies work as experimental is when a work is trying to work but it’s not and if it’s not finished as in it’s trying to get to a point where it should be different then what it is now.

4. Do you agree that poor images are poor because they are not assigned any vale from the clas society of images? Not really, I think it depends on who looking at the image, such as a image that I may look at could be poor in my eyes while another person may think otherwise.

5. What relevance does this have to painting? I see it as the same because paintings are also images and it depends on how it’s created or made whether it’s a poor image or not.

6. How do we measure the quality of image? I think we tend to measure the quality of the image on how it looks and how clear and deep the message is in that image.

7.  Do you consider these qualities when constructing work? Most of the time, but not all.

8.    What role does the human condition or the "everyday" have in your work? For my work human condition and things and ideas that are “everyday” have a huge role in my work, in fact it’s what I mostly use since my work tends to be somewhat about stereotypes.

1. What are your political concerns? Is there anything happening in the world beyond your self, that still effects you directly? Does this come into your work? 

I don’t really have any political concerns at the moment and I don’t really use politics in my work.

2. What insights should artists provide? Do you agree that poets(artists) are "uniquely suited" to "speak publicly and morally about human aspirations"? To be honest I’m not sure what insights artist should provide but I’d don’t think I’d mind seeing more poets/artist speak publicly and morally about human aspirations.

3. Are any artists that you know or are currently looking at, critiquing our cultural or political systems through their work? Please elaborate on why you think these people are able or aren't able to make these works… At the moment the artists that I’m looking at aren’t that political.

4. What does it mean to be politically active? For me, it is to take physical action in some thing that is political.

5. Are you able to relate to the work that I've made this year? What work? Do you relate it to any other artists or movements? In all honesty I don’t think that I am able to relate to any of the work you’ve made this year.

6. What do you think would make my work better? At this time I don’t think I could answer that question, I would have to take a better look at your work.

7. Do you think some of my work can be political, even if I don't say it is, or take a specific position? Is this an effective way of discussing work? In some aspects yes, and I thing that it’s an informative and effective way to discuss work. 

8. Does my work provide any insight? When it is explained, yes.