Monday, May 16, 2011

ART PROJECT

\

I do not really know what to do in this art project. It seems "no" interest for me since I do not like art much. I with my "bfriend" just tried to do something. Exactly it is not really "art" and also very simple and wierd, but I think it kindda connects me and nature. I used nature to create art. 








FARMLAB

I went to farmlab on Friday, May 6. This trip is cool in a way. I had hard time to find farmlab since it does not have any signs stuffs to give direction. At first, when I got in there, I thought what the hell is this. I don't know why it locates at such this place. I also felt uncomfortable when they don't like to let me visit. Maybe this is their place for making movie or something like that.
I saw a lot of furnitures on my way. I did not know what is it for. Then I saw many different plants which is planted very specially. Some of them are planted in a car. This is a picture which I think really cool and weird.






There are also many "odd" and cool stuffs. They use giant water bag to keep water and use it for watering. Plants are put outside to use solar radiation as a energy source to grow trees. Also, those plants are put in like "wood box". I did not know what is its purpose, but maybe this helps trees grow better. 

Wednesday, May 11, 2011

Robert Smithson

Robert Smithson (1938–1973) was born in Passaic, New Jersey and studied painting and drawing in New York City. He was an American artist famous for his land art. His early exhibited artworks were collage works influenced by "homoerotic drawings and clippings from beefcake magazines", science fiction, and early Pop Art. Smithson became particularly interested in the notion of deformities within the spectrum of anti-aesthetic dynamic relationships which he saw present in the Picturesque landscape. He claimed, “the best sites for ‘earth art’ are sites that have been disrupted by industry, reckless urbanization, or nature’s own devastation. it was not necessary that the deformation become a visual aspect of a landscape; by his anti-formalist logic, more important was the temporal scar worked over by natural or human intervention. Other theoretical writings explore the relationship of a piece of art to its environment, from which he developed his concept of sites and non-sites. A site was a work located in a specific outdoor location, while a non-site was a work which could be displayed in any suitable space. In 1971 he created Broken circle, Spiral Hill for the exhibition for the Sonsbeek'71 art festival at Emmen, the Netherlands.
His land- art piece seems hard for me to understand its meaning. I quite don't like it much. I think it is a concept of site and space. But I kindda admire him since he uses his writing along to make his artwork, which is really cool.




Lauren Bon

Not A Cornfield by Lauren Bon
      “Not A Cornfield” is a project (2005) by Artist Lauren Bon. It’s a living sculpture in the form of a field of corn east of Downtown Los Angeles. This is an artwork in the form of a field of corn that transformed 32-acres of post-industrial LA and transitioned it to its next phase of life as the Los Angeles State Historic Park. Its aims are at giving focus for reflection and action in a city unclear about where it's energetic and historical center is.
      This art piece redeems a lost fertile ground, transforming what was left from the industrial era into a renewed space for the public."Not A Cornfield" is about these very questions, polemics, arguments and discoveries. It is about redemption and hope. It is about the fallibility of words to create productive change. Artists need to create on the same scale that society has the capacity to destroy. This is kindda an evidence to prove that tranforming the left of industrial into an useful and exaclty new space is possible. I already had a chance to see it when I went to Farmlab. The whole area now are in used instead of useless public land.

Survival Research Laboratories
         Survival Research Laboratories (SRL) is a machine performance art group credited for pioneering the genre of large scale machine performance. Survival Research Laboratories was conceived of and founded by Mark Pauline in November 1978. Since its inception SRL has operated as an organization of creative technicians dedicated to re-directing the techniques, tools, and tenets of industry, science, and the military away from their typical manifestations in practicality, product or warfare. 
         SRL devices are usually given interesting names, such as the Flame Hurricane, the Large Shock Wave Cannon and the Hand-O'-God. Their performances are also given colorful names, such as The Unexpected Destruction of Elaborately Engineered Artifacts and Survival Research Laboratories Contemplates a Million Inconsiderate Experiments. SRL is considered to be the pioneer of industrial performing arts. 

Nancy Popp

Street Climbing Performance by Nancy Popp
    This is a performance in Santa Monica, on Oct 2005. Her artworks are so amazing. At first, I feel really weird and like "no idea" when I see this artwork. I am like what is it about and why it is called art. As I read through all of the stuffs about this work. I get more feelings and understand it. 
     This performance attempts to break out pattern if movement within urban space to observe the flow of the street and seek out new sightlines. This is also an exploration between public and private. Popp wrote: “The body becomes a temporary marker signifying transgression, an attempt to top the hierarchies inherent in the vertical landscape. But climbing a street pole is a seemingly ridiculous and pointless act. Its motivation is unclear, private or idiosyncratic.”

Ana Mendieta


In Depth by Ana Mendieta
       Ana Mendieta (American, born Cuba 1948–1985) is an artist whose career can be distinguished in part by her experimentation with a diverse range of artistic media.
       Ana Mendieta used her own body as both subject and media to explore issues of gender and cultural identity. The naked female form inserted in nature became a hallmark of her artistic production as she developed her own self-labeled genre of art, “earth-body art,” which can be described as a hybrid of two 1960s movements: earth art and body art. Her performances, documented with film and photography, often involved interjecting the performing body into nature in order to forge links with an ancestral past and present.