Ed Ruscha: On the Road. Exhibition Paper by Andy Burns

Document is Attached here: On The Road

Amelia Jones Lecture Review

Document is Attached: Guest Lecture #2.  ANDREW BURNS

Janine Antoni: Guest Artist Lecture Review

Andrew Burns.  Document is attached.Lecure Review #1

Land Art and Minimalism, my humble views

Land art is not just something that I’m impartial to, it is something I dislike.  To me the most beautiful art in the world is a vast untouched landscape.  When viewing the spiral jetty, or the works of Michael Heizer I feel as though I’m staring at a tainted scene.  The great salt lake is beautiful in its absolute vastness.  A little human made spiral just seemed like pollution, an imperfection.  It would be like taking a Clyfford Still painting a slapping on a little sticker.  There are plenty of natural features in the mountains of Colorado that provide a psychological experience far greater than any Heizer work.  In fact, when staring at the pictures of his works, I felt almost as though they were detracting from my experience.  Perhaps you actually have to see them in person, but from the photos I can say for sure that land art is just not for me.

Minimalism on the other hand holds a certain appeal.  For some reason It provides an almost soothing, peaceful feeling.  The fact that you can just observe a row of four cubes and experience a certain emotional reaction is really interesting.  It seems that some of the experience is triggered by the unusual nature of minimal art.  Where else could one find a perfect 6×6 ft cube, or a pair of white blocks in a white room?  The objects provide almost a soothing presence when viewed in person.  They also at times provide some humor.  Yesterday I was sitting in my car at a red light an just started laughing, knowing that there is a giant block of half gnawed chocolate sitting in a museum somewhere.  These are the reasons I enjoy this type of art.

Clyfford Stills and Abstract Expressionism: A.W. Burns

Document is attached: Clyfford Still Paper

Andy Burns: Analysis of Untitled Rothko Piece

This untitled piece is one of my personal favorites from Mark Rothko.  The use of lively, bright, and multi-shaded red as the background color gives the piece a tense, alarming feel.  Such a background also provides a very strong contrast with the two shapes.  The contrast enables the two shapes to be perceived as well defined blocks despite their blurred, ill-defined edges.  Color contrasts between the background and the shapes sets the stage for the viewers perception of the shapes interactions.  The emotions procured from the red background make it seem as though the black shape is putting pressure on the grey.  The blurred edges add to this perception of motion.  It is as though the dreary, black object is pushing forth into the territory of the grey.  The fragments of white visible in the grey shape give a sense of hope and optimism within this shape.  The vertical motion of the brushstrokes makes it seem as though this grey shape is trying to expand against the hopeless black shape.  Ultimately, despite ones interpretation, their can be no avoiding this sense of motion between the two shapes.  The wispy edges and strong background contrasts make any static interpretations almost impossible.  This is what defines Rothko’s work to me; an unavoidable sense of motion and interaction within a painting that depicts nothing but blocks of color.

Intellectual Profile: Andy Burns

1. Give some basic information about your studies and fields of interest.

I am an integrative physiology major and am primarily involved with studies concerning the human immune system and endocrine system.  Ironically, despite my major, I hate hospitals and could never work in one.  In fact I am planning to avoid working in healthcare at all costs.  My primary interest is animal health, and I am planning on pursuing veterinary medicine in my future.

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Andy Burns on Terry Smith

Terry Smith initiates his analysis of Contemporary Art through an examination of its cultural implications.  He suggests that Contemporary Art is first and foremost a network of communication amongst local movements and organizations.  This is certainly an agreeable statement.  Local Contemporary Art scenes are always changing and morphing as they consistently reflect the local trends in culture, and society.  Smith follows this initial analysis with a suggestion that Contemporary Art is a posthistorical installment, and will always lack a unifying theme or trend that categorizes major historical art periods.  This is a suggestion that I am wary to accept.  The presence of an era, I believe, would go unnoticed until after it has occurred.  Such an idea can be seen throughout history.  It would be naïve to say that the 1980s brought about the end of art eras.

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