Hugh Hartigan: Keeping It Real Exhibit

“Keeping It Real,” exhibited at the CU Art Museum is subtitled, “Korean Artists in the Age of Multi-Media Representation”, a theme that rings true throughout the exhibit.  Pieces are in conversation with the technology boom, as well as scientific issues, each creating a unique, yet incredibly contemporary meaning.  The first piece one notices when entering the gallery is Sun K. Kwak’s “Untying Space_CU Art Museum.”  The undulating black marks streak across the wall, through the door, and into the gallery.  It is hard not to associate this piece with graffiti, but Kwak’s intention is to remind viewers of East Asian ink painting, already connecting tradition to the contemporary.  While the work exudes a feeling of speed and randomness, it was executed through strenuous efforts and thorough planning for over a month, using masking tape and vinyl bits, which have become her signature media.  The piece is site specific to the CU Art Museum, playing with its architectural space and exploiting it… (continued in document)

Keeping It Real

Hugh Hartigan Aki Sasamoto Lecture Review

Going to see Aki Sasamoto was an experience in and of itself.  Her presentation was high energy, interactive, and constantly in motion.  Although a New York-based artist, she is also Japanese.  Here diversity only intensifies when speaking of her multi-media approach, consisting of performance, sculpture, dance, as well as many other medium.  Sasamoto is everywhere in her art, as performer, artist, director, dancer, etc.  Her lecture itself even seemed like more of a performance.  Although she hopped around a lot, her lecture consisted of both vivid explanation of her works, but also personal stories about her own life.  At one point she would talk about her piece “Skewed Lies” and how much she hates mosquitoes and the next she would talk about her brother and their long distance relationship… (continued in document)

Aki Sasamoto Lecture Review

Hugh Hartigan Janine Antoni Lecture Review

Going to see Janine Antoni I knew I was going to see somewhat of a celebrity.  In every contemporary art class I have taken she has always been talked about.  Whether it is “Gnaw” or “Mortar and Pestle” one is more familiar with, she is an artist worth knowing in the contemporary art scene.  Her presence is very calming and very humbling.  She is a fans’ favorite kind of celebrity: one who does not think they are that famous.  She was introduced as ‘inspirational’ and a ‘genius’ something which almost seemed to take her back (sitting front and center I could audibly hear her say “I can’t believe you called me a genius!”).   (Continued in attached document)

Janine Antoni Lecture Review

Hugh Hartigan Clyfford Still Paper

“Having watched the documentary in class last week during lecture, I had formed an opinion about certain works of Clyfford Still.  My favorites of his were undoubtedly the works he did in the mid-30s depicting farm labourers.  I then felt indifferent about the colorfield works he did at the height of his career; nothing about them really drew me in.  However, as the documentary came to a close, I became intensely immersed in the works he did toward the end of his life in Maryland.  In them exists a great simplicity, yet at the same time a keen eye for perfection which speaks volumes.  When I entered the Clyfford Still museum, I was taken aback by nearly all of his works.  While I was still fascinated by the aforementioned works that caught my attention, all of his monumental colorfield paintings made me take a step back, awe stricken.” Continued on: Hugh Hartigan Clyfford Still Paper

Hugh Hartigan Intellectual Profile

1. My name is Hugh Hartigan and I am in my final semester at CU Boulder.  I am double majoring in Art Studio as well as Psychology and have a minor in Philosophy.  While I love art, I plan on attending law school after I graduate, although where I will attend has yet to be determined.  I hope to use my degree in psychology when I go into law school and would like to practice Family, Human Rights, or International Law.

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Smith Paragraph Summary

Smith’s piece What Is Contemporary Art? circles around the ambiguity of contemporary art and the difficulty one encounters when trying to define it.  While there are many things that contribute to this dilemma, Smith eventually narrows it down to four primary issues.  The first is the fact that there seems to be more contemporary art than before.  With such an abundance of art, it becomes difficult to satisfactorily constrain all of these works into an overarching theme.  The second is that contemporary art is more decisive than before.  This comes in many forms, ranging from content to medium to location, explaining that there does not seem to be a unifying theme or practice.  Where past movements may have kept to a particular style or subject matter, that does not seem to be the case with contemporary art, making it ever the more harder to pin down.  The third explains that contemporary art is being created all over the world, which causes a problem for those who view a particular piece of contemporary art from another country.  Much of art draws from cultural backgrounds and therefore there may be certain boundaries that impede one’s understanding of a particular work of art.  The fourth  issue is that art is being generated by younger artists and exhibited more quickly than ever.  This creates a problem because new works are constantly being churned out.  Once someone believes they may have an idea of what ‘contemporary art’ is, a newly emerging piece may radically alter that perception.  Furthermore, with artists becoming younger and younger, it only allows the artist population to continue to grow, therefore exponentially increasing the amount of contemporary art available, all of which must be considered to define ‘contemporary art’.

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