Lawrence Argent Logan Lecture

Kevin O’Hara

ARTH3539

Logan Lecture Review

Lawrence Argent is an artist who creates site-specific public works of art.  Argent’s large scale work is meant to reflect the location it is placed in and inspire viewers. Continue reading

Lecture – Lesley Flanigan

Lesley Flanigan is an up and coming sound artist. She utilizes technology to create sound art that might otherwise be considered unwanted “speaker feedback.” By building her own microphones, circuit boards and speakers, she is able to create different tones when placing the microphone near the speakers. What started out as an installation, due to her sculpture background, has evolved into performance pieces. She is also a singer and incorporates this into her work, as well as other vocalists and musicians.

She creates beautiful wooden boxes to house the electronics and places many different ones around herself while performing. All of her performances are improvised to a degree. She has an idea of what sound will be created because she works with these objects so often, but she does not always have an idea of what order she will use them.

She describes her elements by defining noise as the raw material and sound as the refined result. The most interesting part of her lecture was the program she uses to create 3D imaging of the sounds. By inputting the sound into the computer, her technician is able to visualize the sound particles on a screen. The dots which represent each sound particle dance with the others in such an elegant way which may not be expected from her work.

Her performances and recordings change in locations and she seeks out any kind of uncommon room to test the acoustics. She has her own recorded CD now and has incorporated such instruments as the Piano, Cello, Violin, Bass Clarinet and the bells. She says, “I love the physicality of the mic[rophone]. It can be hands on and intuitive, the body is guiding the results as I work.” -She has definitely given me a new light into the world of sound art. What was once something I would pass off as bothersome or uninteresting has now become something to reconsider.

Artist Lecture 2 – Lawrence Argent – Lane Mitchell

Lane Mitchell

ARTH 3539

Artist Lecture 2

Born in England and raised in Australia, Lawrence Argent brought his massive public art to America and more specifically Colorado, often making us, the viewer, consider the location in which the art is placed. “Through my placing them, they take on a new meaning”, he says. Continue reading

Lecture Review 2: Amelia Jones

Visiting Scholar Lecture Review : Amelia Jones

                Amelia Jones is an Art Historian and critic residing amongst the faculty of McGill University, Montreal, Quebec. Jones is an accomplished member of the Art History community, and works diligently to make progress therein. This can be seen in her robust resume when one reviews its twenty-nine pages in its entirety.  Her experience as a historian is rich with residency, publication in journal and literature, reviews, grants fellowships, participation on panels and in exhibitions.

The focus of her talk was ‘Queer, Feminist, Durrationality’. Jones broke this title down and used each word as a lens to examine art work of interest.  Feminism was more of a visual theory. She spoke to how she treats it as a process of viewing the world and making displays in response to it. She explained that it plays a role in any interpretation. Queer was described as a mechanism in which we may question what we see in the world. It was related to experience of reality, in that everyone’s experience of the universe is different. Queer changes with durrationality. Durrationality takes away an object from judgmental, specialist gaze. This is to say that whatever an object or idea may be, it is examined in a new light be it through the ever changing temporal lens, or reallocation to a new environment. Either way the object experiences a paradigm shift of sorts and perhaps takes on new meanings. Jones is interested in revision, seeing the world differently, theories of identity, and its relationship to art.

The first artist she referenced was VALIE EXPORT, a Venetian feminist artists. She interpreted Action Pants: Genital Panic (Aktionshose:Genitalpanik); a performance where she walks around a cinema with crotch less pants, vagina at face level confronting the audience. The purpose of this was to confront the audience with the passiveness feminine role in film. It also addresses the private role sexuality plays in life. She believed that women were not captured by directors and cinematographers, but rather gave themselves freely. Jones says this toys with female visual theory and the vulnerability of the hole (theory of the hole). What she means by this is associating women purely with the vagina, submission in sexual situations and the work environment, exposed to the public, weakness, etc.

Jones then went on to discuss Holbein’s The Ambassadors of 1533, specifically focusing on the Anamorphic Scull. She argues that it invokes durrationality, forcing the viewer to reassess their position and relationship to the painting. This can also be seen in the work of Mira Schor, specifically in  her Slit of Paint series (1994). The series of painting depicts a vagina with a semicolon contained in its depths. According to Jones the semicolon provides us with an emergence of language in the visceral body in a direct and abstract sense. She defines abstract as shapes at the edge of recognition that do not cease to carry meaning. I feel that the Slit of Paint series is rich in this, and deeply tied to Schor’s writings as well, and can also be tied to pieces like Judy Chicago’s Dinner Party, subtly hinting at the roles women have played historically, perhaps encompased in a quote by Schor: “There is in matter, someting more than, but not something different from, that which is actually given”.

Another artist discusses was Cathy Opie. She is mainly concerned with Identity and how it is shaped by the architecture of the realities around us. We can see how Opie changes through the invocation of durrationality says Jones. We see that Opie’s body heals from her performances like cutting in 1993, and other masochistic art. We also see her tattoo regimes change, as time goes on. This provides us with a sort of Feminist duality through identification, repetition, and substitution – the durational performative subject. This is of course subject to interpretation through the themes provided to us by Jones, ‘Queer Feminist, Durrationality’, and the implications each bring with them.

I think that Jones is brilliant. I enjoyed her lecture, and was exposed to new art, which I think is the purpose of the visiting scholar series. From an outside perspective, the lecture was hard to follow, as I have little expertise in Queer, Feminist art, but I will say this; I feel the concept of ‘Durrationality’ is in escapable, especially in the art world. Pieces are as temporal as the events they display. I will never feel the true passion of a David painting because I am not living in France, in the early 1800’s witnessing the people overthrow the government. I simply have a sense of the power of the work from that time, and what I can gain from it through my contemporary lens. Amelia Jones I feel understands this, and she gives us license to reinterpret art in new context of time and place, and for this I am grateful.

Lawrence Argent Logan Lecture

Andrew Odlin

Logan Lecture: Lawrence Argent

Continue reading

Nao Bustamente Artist Lecture Review – Jordan Dawson

I really don’t like Nao Bustamente. Most of the time I have the right words at my disposal to express my emotions effectively, but my mind made an exception for Nao Bustamente. She is the embodiment of all I hate about the art scene right now. Using glitter, a fatal dose of carnival make-up, flashy clothes and a barrage of pitiful lo-fi films, she manages to draw attention to herself. I must admit that I have little to write about, because she has done so very little that’s worth me writing about. And of course, the obligatory, “it’s only my opinion” goes here, just in case Nao Bustamente’s #1 fan happens to be in this class (I’m especially sorry if that’s you Prof. Van Lil). Continue reading

Janine Antoni- James Stahl

Janine Antoni

Lecture review (Jasmine Lewis)

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Frederic Jameson–Lauren Anderson

Frederic Jameson Lecture Review by Lauren Anderson

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Wu Hung-lopezkr

Kristie Lopez

April 27, 2012

Arth 3539

Lecture 2

 

Wu Hung

I had no knowledge of this lecture prior, my only reasoning was that it was the only one that fit with my schedule. It was definitely about artwork but it also highlighted some different issues such as how certain artwork effects the environment. The lecture focused on three different artists and it was a little hard for me to get into an art mindset because I kept thinking about different issues. When I think about a dam I think about the effects such as what the dam is actually meant for. I think about what the function of the dam is to be. Some of the benefits such as preventing flood damage and it being major source of energy for China were only touched on. I know that it was an art class but like I said it was difficult for me to think of the lecture in that way.

The other effects that were mentioned were the negative effects that the dam would cause. Some of those other issues are the fact that it could disrupt ecosystems and cause people to relocate or have a disruption in the town. The negative that was obviously discussed the most was that fact that adding a dam would take away from the area and its aesthetics. This is true, dam for one are not pretty and for two putting a dam would ruin and hide parts of the environment that many would consider art and too valuable to lose. Something that you cannot get back once ruined. The argument that I keep going back to is seeing the big picture of taking everything into account. I do not know what the area looked like before the dam but considering all of the negative contributions that China has been giving to the environment in the past years the dam could really help. With all the coal that they are burning for energy any little bit would help with reducing their pollution.

One of the artists that Hung talked about was Zhuang Hui, I found him to be the most interesting because he foresaw a change and a project. He thought about the environment and he thought about art and the beauty of the environment. His project was a before and after of three holes that he drilled showing how dramatically it changed. The second, Yun fei Ji just looked at the art that Hung displayed and that was it. I could see that he was moved by the construction and wished it was otherwise. The third artist Chen Qiuling was also very interesting because she was initially from the area that was being relocated and I believe that her family still lived there. I just like the fact that she was included because she was able to offer something new to the table, it made her art mean a little bit more and was the only time that I really was able to put the environment aside.

I had no idea that things like this were going on and I love to learn something new and share with others. I was glad that I chose this particular lecture since it was different and allowed me to look at art in a different way. It allowed me to look at artwork in an unconventional way. Looking at the lecture itself I thought that it was very organized but at first did not know what we were actually talking about until he got to the first artist. It was still a good lecture.

Visiting Artist

I missed the last lecture I was going to attend because of an unexpected time change, so I just checked out a visiting artist DVD from the VRC and wrote my paper on that. Continue reading

Erika Doss Lecture

Shayna Weingast

4/30/12

Erika Doss Lecture

Erika Doss is a well known and very well respected art historian who currently teaches at the Univeristy of Notre Dame. I have read her work in several of my art history classes, so I jumped at the opportunity to attend her lecture. Her lecture was titled “Cultural Vandalism and Public Memory: Anger, Citizenship, and Memorials in Contemporary America,” and covered the controversial topic of public memorial art, focusing mostly on the memorial statue of Juan de Onate in New Mexico.

Erika Doss’ lecture was an informative exploration into a realm of public art that many of use experience on a regular basis but often take for granted – monuments. While most of us (the population at large) are exposed to monuments and public works on a very regularly, it is so rare that any of us really take a moment to think about the meaning behind these works. For example, the fountain behind the UMC I just recently learned is the Dalton Trumbo fountain, named for a seminal screenwriter who was blacklisted during the McCarthy era. As a film major, this void of knowledge is not just embarrassing, but a reflection of the general mode of oblivion I seem to operate in.

Professor Doss began her lecture by giving a brief history of the statue of Juan de Onate, a monument of particular controversy because of the history it represents. While the actual history of Juan de Onate is shaky, the story accepted by most European-Americans is that Onate was a brave conquer who was one of the founding fathers of the south-west. In this way, Onate’s history is valorized as brave, representing an emblem of courage and conquest. HOwever, for the Pueblo Indians, who were the one that were kicked out of their home by Onate in favor of European colonization, the statue represents death and distraction. For these Native Americans, the statue only reminds them of a traumatic past and stands for a history that attempted to write their people out; the statue is a blatant celebration of the genocide of their people. During this part of the lecture, Doss touched upon an aspect of memorial art I had never considered; the ‘other’ history it ignores in favor of the dominate narrative.

Professor Doss discussed the protests enacted by the Native Americans over the years, playing close attention to one specific act of vandalism that occurred on the anniversary of Onate’s conquer of Acoma Pueblo several years ago. During the celebration, members of the Native American community cut off the foot of Onate’s memorial statue to reference a historical fact that has long been ignored; Onate cut off the right foot of every man in Acoma Pueblo as punishment for their attempted revolt. Doss discussed the emotional turmoil the memorial caused for the descendent of the victims of Onate, and how Native Americans felt victimized and were forced to question their identity as a citizen on the United States. This was the part of the lecture that carried the most emotional and intellectual depth.

Erika Doss then went on to discuss what she calls, and wrote about in her previous book, “memorial mania.” It is a reference to Americas obsession with history and remembering and how our culture is fascinated with publicizing memory through public landmarks. Doss argued that these memorials have no discernible theme or aesthetic stander, but represents our need to commemorate and historicize. Doss gave many examples of different memorials, and brought up how each has an alternative narrative that goes largely unrecognized.

Overall, I found Erika Doss’ lecture to be insightful, interesting, and challenged by knowledge of both art and history (as separate entities). Doss ended by stating that what must be sought out in order to stop these culture clashes is an alternative course for commemorating American national identity. Doss concluded by pointing to the MLK memorial as an example of a positive and successfull contemporary American memorial.

janine Antoni

Janine Antoni

Janine Antoni is a highly successful artist who works with sculpture. Her work deals with the concept of the human form and her personal interaction and experience with a work. In one of the key works she discussed she submerged herself in a tub of lard  and made an impression of herself, the excess she utilized by making busts of herself out of a soap made from the lard. She then proceeded to wash herself with the bust. Continue reading

Kathryn Anderson Dintenfass

Marylyn was a very clear, organized and methodical artist.  When I walked down to the second row of the auditorium I was one of four people there.  Two of whom I came with.  It was obvious that this was going to be an intimate setting.  Dintenfass walked over to every person in the room, asked them their name, interest in art and what they were doing in Boulder or at the lecture that night.  I enjoyed that the setting, it was very personal although, I wish more people had attended because she was a really interesting artist with practical advice and knowledge to share.  Continue reading

Lecture Review 2, Rachel Olguin

Rachel Olguin

ARTH 3539

Kira van Lil

30 April 2012

Logan Lecture Series: Lawrence Argent Continue reading

Visiting Artist Paper 2, Janine Antoni

Laura Marshall.

Janine Antoni, 20 March.

It goes without saying that Janine Antoni is an iconic performance artist who is very well known in the contemporary art world today. Her work is biographical, feminist, and extremely personal. Continue reading

Artist Lecture Review: Leslie Flanagan (Jillian Fox)

Jillian Fox

ARTH 3539

Artist Lecture Review: Leslie Flanagan

 

Leslie Flanagan is an artist, vocalist, performer and a self-proclaimed sound sculptor. She uses microphones, speakers and voices to create her own instruments and music. Flanagan began the lecture by playing one of her own tracks for the audience so that we would get a sense of who she is. The track “Sleepy” was very soothing; it is all her voice and speaker feedback instruments, not singing any words, but just emitting sounds. She likes to play this track when introducing people to her work because it is one of the more simplistic parents of voice and speaker feedback, and you can really hear how she is working with these two different sounds. Next she introduces us to her background and how she got to where she is today.

Flanagan began working in sculpture, more specifically sculpting wood. She was passionate about building things with her hands and wood; she loved touching and shaping tangible things. Flanagan’s other side was singing and working with electronic music; she had always been a singer. This world was all sounds and she had always seen these sounds as sculptural media. To her, both of these worlds were the same and they could be united to create something new and tangible, the thing she loved most.

She combined these worlds by starting to work with voices, speakers and noise, her main sculptural materials. Flanagan attended NYU telecommunications school for her graduate degree. There she started working with electricity by building circuits.  She discovered speaker feedback and how these noises were so raw and tangible, and learned how to manipulate them. To illustrate exactly what this “speaker feedback” that she created was, she played a video on the screen for the audience of her testing the amplifier, which was not assembled properly. She noted that this is her favorite video because she played with that amplifier for an entire day. The speaker mesmerized her because it was something physical; the electricity was moving and she could touch it. This was the tangible sound she had always wanted; both of her worlds were finally united.

Flanagan began playing around with different speakers all with different tones. She realized that she needed to create her own instrument. She built what she calls a “speaker synth,” with five different speakers, all ranging from low to high tones; this was her first speaker feedback instrument; it was an alive electric system. She showed us a video of the “speaker synth” displaying how she became compelled with how she touched the speakers and how she could interact with the instrument. Flanagan would write down all of these different descriptions of what the speakers sounded like. She realized what the next logical step for her would be; she wanted to separate the speakers and give them each their own voice, so she started building. She loved the sound and thought a lot about the amplification.

The video she showed us next was of her voice visualized, created by someone else. Flanagan reflected on it and thought it visualized the way she thought about different sounds, tangible and moving, as they were doing so on the screen. Her job as a performer, composer and instrumentalist was now to move the microphones around and manipulate the sounds further.  She juxtaposed the image of her visualized voice with a big open space of a church, showing us how the amplifications of sound can be visualized differently. Then she played a video of how she moves the microphone around to play these instruments; it was as if the microphone was a net scooping up all of the sounds.

Flanagan is more comfortable using the term “sculptor,” rather than “musician” to describe her artistic technique because she believes that she is visualizing the sound and making it happen. Eventually, she came out with an album called “Amplifications.” The tracks on the album were made with feedback mixed with voice and eventually other instruments; she was making electronic music by eliminating the computer altogether, it was with actual electricity. This is when she starts playing with natural reverb; you can really feel the sounds as she amplifies them and she describes them as “low, dirty sounds” and then begins layering her voice as it is getting higher and higher. When she performs with the speakers, she thinks of them as different voices. In all of her performances, she wants the noise from her voice and from the speakers to be piled together to create a beautiful mass of sound.

I think the artist’s intention was exactly what she managed to do; she wanted to touch and mold sounds just as she learned to sculpt wood. She used speaker feedback, her own voice, and microphones to make these sounds physical and tangible. I have never thought about sounds this way before, but her work effectively made me see them in a new light. The most interesting thing to me was that her mind even thought about something as intangible as sound this way. She makes her work in the moment and lets her intuition combine her two worlds in a way that I have never seen or heard of before.

Lecture Review 2

Mark Pharish Continue reading

Visiting Artist Lecture Review #2

Danielle Tomasetti

Nao Bustamante

Lecture Review 2 // Lawrence Argent // Ricci

Attached is my review of Lawrence Argent’s lecture.

Ricci – Argent Lecture Review

Lesley Flanigan Lecture Madeline Dungan

Lesley Flanigan Paper

Amelia Jones lecture-Katie Hitch

 

On April 17th I went to hear Amelia Jones speak about Queer Feminist Durationality in contemporary art. Amelia Jones is an art historian, curator, and art critic who specializes in feminist art and Dadaism. Jones has taught art history at UC Riverside, University of Southern California, the Art Center College of Design in Pasadena, California and was formerly the Pilkington Chair of the art history department at the University of Manchester.” She is a professor at McGill University and has produced multiple books that break down commonly assumed options about the traditional art world as well as the contemporary art world. Continue reading

Bryce Johnson- Lesley Flanigan review

Bryce Johnson

Visiting Artist Lecture: Lesley Flanigan

ARTH 3539

April 24, 2012

Continue reading

Lawrence Argent: Lecture review 2

Danielle Austin

Lawrence Argent

 

 

Lawrence Argent was born in England and went to the Royal Melbourne Institute of Technology where he studied sculpture. Argent received his MFA from the Rhinehart School of Sculpture, which is part of the Maryland Institute, College of Art. Argent is well known for creating many public works of art many of which are in Colorado. Much of his work explores people’s relationship with objects and the world around them. Continue reading

Jackson Ellis Lecture Review 2 – Lawrence Argent

Jackson Ellis

Lawrence Argent Paper

 

Artists who create public sculpture are brave people. Above all this was probably the most pertinent realization that I came to during Lawrence Argent’s Logan Lecture at the Denver Art Museum. Revealing to the audience that he is the artist with a blue bear tattooed on his chest, Lawrence Argent began his lecture out on a light note, describing how he strives to bring the magical aspect of art to influence the viewer. To be a public art artist, one must understand and reflect cultural values that appeal to a broad range of viewers, while showing both a mastery of technique and a powerful use of imagination. Argent described his conceptual process as one of wonderment, where his work plays with the way we perceive the visual world around us. As an exploration of consciousness, Lawrence Argent began his work with the sense of smell in Reflections (2000). Using oil and soap, Argent utilized oil for both its amazing reflective qualities and pervasive smell, and soap, a much softer scent. Juxtaposing these contradictory materials, the viewer’s senses are automatically triggered as soon as they enter the gallery space. These materials have a ready-made aspect to them, in that they retain their qualities no matter what form or vessel they are in. The idea of a ready-made object is an important aspect of Laurence Argent’s work, and it would influence the design of his later public sculptures.

One of the most amusing works that Argent showed was a pair of street sweeper brushes, called Cojones (1999). Their comically large size and bright red color were perfect ready-mades, and Argent mentioned how sensual their aesthetic was. His aim with Cojones was to lose the history of the object, while at the same time gaining a universal aesthetic that speaks to all viewers. Lawrence Argent utilizes humor for many of his pieces and this playful approach to art has led to many comical, yet conceptual works of art.

One of his first forays into public art, Argent created a series of massive stone sculptures for the courtyard of an upscale apartment complex for grad students. Referencing the function of the space as being a location of the exchange of dialogue, Lawrence Argent chose the shape of a gourd- one of the earliest known objects that man has exerted his mind to fashion into any number of objects. Then, using computer-imaging software, he mapped out the surface to represent stages of the process of education. Wanting the gourds to be carved from stone, Argent ran into a problem; no machine existed that could cut the stone how his designs had envisioned it. So he hired a company to hand carve and polish the 3 massive boulders, a monumental undertaking. Titled Your Move (2011) the work really demonstrated how public art artists must outsource their idea to experts as well as the sheer amount of work that goes into any work of art placed in the public sphere. With this work in mind, Argent began presenting the work that has made his name a household one in Denver. I See What You Mean (2005) also known as the “Big Blue Bear”` is in Argent’s word, a symbol fit for Colorado. Looking to the history of art in the Midwest, a bear was a suitable choice. Wanting to make a physical connection with the building, the bear was designed to peer into the building, as if just wandering in from the mountains. To fabricate this behemoth, Argent used computer software to create the faceted bear, then working with an outside company to fabricate the huge steel structure and paneled exterior.

After seeing this lecture, I had a much greater appreciation for any art in the public realm as it is clear that a multitude of extremely talented professionals is an absolute must when creating monumental work.

Lesley Flanigan (Tony McKendry)

Tony McKendry

Lesley Flanigan

Lesley Flanigan resides in a nitch of the art world that I have become very interested in over the last few years in my artistic eduction, sound art. As a DJ, Music Producer, and Sound Artist myself, I am always searching for new and groundbreaking ways to use sound in a creative way that has never been seen, or more appropriately, heard before. I was very excited to attend Flanigan’s lecture for this reason, as Flanigan’s work with sound is absolutely revolutionary and very inspiring to me. To the common mind, sound art is often associated with the most popular version of artistic sound expression, Music; Flanigan constantly breaks the boundaries of these associations, ascending to a higher plane of sound, and creating “music” the likes of which has never been heard. Continue reading

Lecture Review #2 – Lesley Flanigan

Janeesa Jeffery

4/30/12

Lecture Review #2

Lesley Flanigan

Visual Art: Amplifications

            Lesley Flanigan visited CU Boulder to talk about her type of performance art on April 24, 2012. Unfortunately, due to a small error on our website regarding the time, her actual lecture I was not able to attend, but her workshop following her lecture I was able to go to and witness. Lesley is a New York based composer, vocalist, artist, and performer. Her most recent work has been dealing with amplifications. An amplifier converts the often barely audible or purely electronic signal from musical instruments. For instance an electronic guitar, an electric bass, or an electric keyboard and these are then turned into an electronic signal that is capable of driving a loudspeaker that can be heard by the performers and audience.

Lesley is a type of musician that is much different then what one would expect to hear today from mainstream artists and musicians. She is inspired by the concrete elements of electronic sound. She builds her own instruments using very little electronics, microphones and speakers. She performs with these instruments together with traditional instrumentation that frequently includes her own voice. Lesley can create a kind of physical electronic music that accompanies both the transparency and residue of the process by making sound from a pallet of noise and slight deficiency. Flanigan built her first speaker feedback instrument, Speaker Synth, in 2007. She has continued on to build analogous systems ability from raw speaker cones, contact microphones and wood. Being playable by hand, her instruments have of a very fragile tangibility to electronic sound and she layers tones of speaker feedback and her own voice with the amplifications.

For her workshop she had us pry the computer speakers apart and take each of the parts out of them. She let us use the back of hammers and screwdrivers to get the speakers open any way we were able to. We could basically get them open any way we wanted to that wasn’t important, the significance of taking the speakers apart was that we got to the amplifier without breaking it and the mother board as well. After that we left the speakers alone because for her workshop the next day students were going to use the amplifier and the mother board to reassemble the speakers into their own wooden stands to make instruments like Lesley does herself. Lesley takes these speakers and makes them into musical instruments and also performed with them. She sang through a microphone and it went through all the different speakers at once, in her way this is performance art. By doing this I think she outreaches and at the same time creates new boundaries for musical improvisation.  She explained to us how each of these speakers has its own life and where ever they were before we are taking them out and giving them a new life once we place them into the new wooden stand.

Going to Lesley Flanigan’s workshop was an unbelievable experience to attend. I actually think that it was worthwhile much more than sitting and listening to her lecture about her work. Not to say that it wasn’t as important but to be able to see her hands on doing the work she does was indescribable. Music isn’t just limited to studios, clubs, bands, and concerts I really think that she redefined the meaning of what music is and what it means to be a true artist. It was definitely a cool way to see how she operates within her own realms and the way she produces music the way she wants to and enjoys doing what she calls music. This goes to show that performance art is really a broad aspect and that a lot of intricate and intriguing things are deeper than just the words performance art.

Wu Hung Lecture: Engaging the Real

In March, I attended Wu Hung’s artist lecture, Engaging the Real: The Three Gorges Dam and Contemporary Chinese Art. I expected to learn about Wu Hung’s art, but instead I learned about four artists that were involved in the art that responded to the construction of the Three Gorges Dam. The Three Gorges Dam was a massive hydroelectric dam that spread across the Yangtze River in China Continue reading

Lecture Review 2: Lawrence Argent- Nell Pollak

Logan Lecture Series: Lawrence Argent Review

Nell Pollak

Lawrence Argent was born in England and later trained in sculpture at the Royal Melbourne Institute of Technology in Australia where he developed his love for sculptural and public art. Argent is interested in how we as people perceive things and likes to incorporate those ideas in his works. He also has great interest in materiality and likes to encompass materials that are engaging but also questionable to the viewers. He likes to make contradictions in his works, which sets him apart from many other artists. Continue reading

Lawrence Argent- Annelysse Eggold

LECTURE REVIEW ARGENT

Wesley Grover, Visiting Lecture 2: Aki Sasamoto

To say that Aki Sasamoto’s lecture was not what I had anticipated would be a great understatement. Although, in hindsight, I suppose I should not have been so surprised given that she is an installation and performance artist. It seemed as if Aki was unable to turn off her creative and artistic mentality and she treated the lecture like its own performance. Aki’s energy was contagious and it quickly became apparent why she is a performance artist as she thrived before the audience. The lecture began in a rather unorthodox manner in order to engage the crowd. Rather than speaking directly to us, Aki introduced herself by typing on to the screen. This was indicative of her desire to break conventions and deviate from the norm. Aki then provided a list of topics and invited the audience to shout out which ones we wished to hear her discuss. This was an interesting technique to involve the audience in her presentation, which reflected the general disposition of her work. Though the lecture appeared discombobulated and unorganized at first, it became clear that this was a reflection of Aki’s artistic process; by the end she had created order out of chaos in a less than conventional manner. As she spoke Aki would bounce around, seemingly off topic, unable to control her energy but ultimately constructed the lecture into a cohesive performance that demonstrated her artistic ability.

Aki began by sharing one of her more ambitious projects, titled “remembering/modifying/developing”.  She worked on this project, which can be considered both installation and performance art, from 2007-2008. As she worked Aki setup three cameras that recorded her sporadic movements from different angles over time. The cameras were not in fixed positions, as they would move if bumped into, and demonstrated how her work changes when viewed from different perspectives. As the process documented Aki at work, we were able to observe her break society down into four categories. The cameras recorded Aki using a chalkboard to outline what she calls “The Judge Mental and the Purpose of Life”. Here Aki explained that she has divided society into four types of people: the norms, the odds, the tinks, and the rest, which she refers to as “Professor K”. The “norms” are defined as the vast majority of people that are unable to break free from society’s restrictions. The “odds” are described as the oppressed or people who are bullied by society. The “tinks” represent those who succeed in overcoming the norms. The rest, or Professor K’s, are the few who are able to occupy the space between the tinks and the odds. As she worked on the board, Aki illustrated how all of these groups are connected and relate to each other. Furthermore, by creating a visual diagram for us to see Aki was able to articulate how these four groups perpetuate the system. Though her manner of presentation made it feel quite unorganized at first, Aki was able to explain how order exists within the project.

“remembering/modifying/developing” exhibited Aki’s unique ability to turn her artistic process into a performance. The process alone became its own work of art that is indicative of the piece as a whole. By recording her movements from different angles, we are able to observe how the piece, and more importantly the meaning, evolves.  In doing so Aki illustrated that our experiences are constantly changing who we are. As she remembers and draws on her past experiences, Aki then evolves and modifies her approach as she continues to develop. This project shows that we are in an ever-changing state as a result of our experiences and adapt to fit in to our environment.

Another memorable project that Aki discussed was “Skewed Lies”, which was inspired by her aversion toward mosquitoes. Like her other work, this project was largely concerned with the different types of people in society. Mosquitoes, she explained, are much like the undesirable members of society and during this project she attempted to “become” one in order to understand their thought process. Aki shared several photos of her performance, where she was dressed and acted like a mosquito, clinging to the walls as she tried to get closer to the light (a bug zapper). I believe it was meant to convey how one’s position in society deeply affects his or her actions. By adopting a different perspective, Aki illustrated how her disposition evolved as a result. Though it would be more powerful to see the actual piece being performed, Aki’s pictures were able to convey the overall message quite effectively. From what I observed of the project and the audience’s reaction to it, “Skewed Lies” was able to successfully reach the viewer and provoke a response.

I found Aki’s presentation to be incredibly informative on a number of levels. Her work is representative of the evolution of contemporary art and incorporates elements of the past, present, and future. Through her performance and installation projects, Aki pushes the envelope to challenge her audience. The lecture itself was a performance that illustrated there is no right or wrong way of doing things; it is more important to express one’s true emotions no matter how he or she goes about doing it.

Lawrence Argent Review-H. Nelson

Heather Nelson

Professor Van Lil

ARTH 3539-001

30 April 2012

Lawrence Argent Lecture Review

            The lecture review that I attended was the Lawrence Argent review on April 18th at the Denver Art Museum. The reason that I wanted to attend this lecture was because I thought it would be interesting to hear the artist speak about his work that I see all over the community of Denver and the surrounding area. I wanted to see the man behind the big blue bear. Lawrence argent, which works with huge structures and public spaces, bases his art on the way that he wants members of society to engage with the space. He hopes that all of his work reflects the history, culture, and values of a space or city and that that such meaning is able to resonate in many ways for different people. Therefore, his work combines the senses of imagination with identification. Continue reading

Christina Binstock Artist Lecture at Denver Art Museum

Christina Binstock

Artist Lecture at Denver Art Museum

 

The Giant Blue Bear Continue reading

Lecture Review 2 @DAM-Natalie Prescott

Natalie Prescott

Visiting Artist Lecture @ DAM

Lawrence Argent

            I went to the Denver Art Museum to hear the artist lecture by Lawrence Argent on April 18, 2012. He likes working with materials and materiality and is known for his public sculptures and installations.  Argent aims to ignite the confidence in the spectator to ignite something else from what he presents. I’m not sure if he should be the sole artist in some of his works because very few of his works he presented did he actually craft himself. He is one of those artists that have a whole team of very intelligent people working behind him, or for him you could say that construct the works. Not only does someone else physically construct the work but often time they also put in their intelligent ideas into the idea and creation.

            Many of us from Denver know the large standing blue bear peering into the Colorado Convention Center downtown. The Mayor’s Office of Cultural Affairs commissioned the space to Lawrence Argent for Denver’s Public Art Program in 2005. He was told that they wanted him to do something that would give the public the idea of what we think Colorado is. Argent on the other hand, wanted to derail this idea of what we thing Colorado is and the mindset of it.  He wanted it to be apart of the building and not just a decorative component. It needed to have a symbiotic relationship with the building that is such a dominant architecture structure. Argent wanted to bring the mountains down to Denver and peak the visitor’s awareness of the uniqueness of their location. He came up with I See What You Mean, a forty-foot tall blue bear with a triangular textured surface. The bear peers inside of the much larger convention center with a sense of interest as to what events are taking place inside the facility. I like this work because I think it adds to the uniqueness of the building and it tells a story and makes people who are passing by want to know or be inside. This is a great work to help with advertisement and the curiosity of visitors as to what is held within the convention center.

Argent was commissioned in 2007 to design a public work for the town plaza entrance in Vail, Colorado. He was brought on as the artist selected to be the creative director for the project.  The Plaza needed an entryway that would accommodate the changes in season and is appropriate for a common meeting place for the townies. For this area Argent created two large sculptures that are unique to one another. One is a large bronze sculpture with swirling pieces leading up into a tall point on the top. The other, my favorite of the two, is a majestic piece that contains LEDs that illuminate different colors according to the different times of day. It is a large up side down metal cone, if you will, that has these bubbles all around it that contain the LEDs inside. At the bottom side of the sculpture is a bench that goes all the way around the base. I like this piece because of its location and materiality. It gives Vail’s Town Plaza an even more majestic and modern feel along with incorporating the arts into the area.

My favorite piece creatively directed by Argent would be the piece he was commissioned to do in 2009 for the Public Art Project and Plaza Design at the University of Houston called Your Move. The piece has three large sculptures made out of bronze, grey granite, and Red Indian granite in the courtyard of the Graduate housing at the University. Each sculpture is an oversized gourd like object, two in stone and one cast in bronze all placed upon and surrounded by grey granite pavers. Gourds are one of the first plants to be cultivated throughout the world and are thought to have spanned the globe on prehistoric times. Argent thought this would be a good object to put in a place where people from all over the world come together intellectually, mentally, and physically. This is my favorite piece he presented because of the weight of the materials used, the sheer size, and the colors and patterns. The patterns where carved in by a machine with a computer motherboard that does all the work. Then people go in a refine areas that couldn’t be reached by machine.  I think this is a beautiful piece of art and it goes to show how much money is being put into public art works today.

I’m not sure what to think of Lawrence Argent as an artist. I mean, he makes me wonder what kinds of works he would come up with without the financial backing and intelligent people who help him with his ideas. I know he is the creative director behind these works but I feel like to be an artist you must be more than just the director of the process of the art making. I also think that the countless numbers of other people who actually had a HAND or intelligent idea in making the works should each be credited, not just the company that Argent collaborated with.

Logan Lecture Review: Lawrence Argent

Aly Nack

ARTH 3539-001

Visiting Artist Lecture: Lawrence Argent

Lawrence Argent was born in England and trained in sculpture at the Royal Melbourne Institute of Technology. He received his MFA from the Rhinehart School of Sculpture at the Maryland Institute of Technology. Argent is best known for his public art and the immense amount of research behind each piece. Continue reading

Logan Lecture Review: Lawrence Argent

Andrew Davis

ARTH 3539

Logan Lecture Review

Lawrence Argent is known for his engaging public sculptures and installations worldwide. He produces site-specific work that reflects upon, integrates, and compliments various aspects of the space. Working with big budgets and teams of architects, engineers, and other specialized professionals, Lawrence Argent explores associated subjectivity in relation to one’s ability to perceive passion and symbiotic relationships within cultural symbolism. Lawrence Argent engages his space; retaining conscious focus on formal criteria including understanding the history of a space, ensuring the object reflects cultural value, while allowing one’s imagination to serve as ideological glue. Your Move, completed in 2011, involves three colossal abstracted gourds, two sculpted from granite and one cast in bronze. Commissioned by the University of Houston, the installation resides in the International Graduate Student Housing Complex. Each of the three gourds represents common facets of the academic system. “Of all the known plant types, the gourd is one of the few that experts believe spanned the entire globe on prehistoric times. It was used by virtually every culture.”[1] By choosing a plant that has worldwide cultural associations, Lawrence Argent comments on the international importance of education within different cultures. The polished red granite gourd represents the various “steps” involved in the educational process. The second stone-carved gourd represents the “weave” of knowledge that is researched, theorized, taught, and perceived within the educational system. The final and largest gourd represents the “patches” associated with the assimilation of information and processes. Lawrence Argent chose to name the piece Your Move to inspire scholars to consider their prospects and potential within their pursuits. The forms themselves resemble game tokens emphasizing one’s control in the game of life. This was my favorite piece because Lawrence Argent strived to compose simple ideas in a way that challenged state of the art technological processes and human capability.  This piece compliments its academic environment, abstractly providing a conversation for intellectual and physical ways of gaining knowledge. This piece reflects a relationship to the past, present, and future and was the strongest piece presented in Lawrence Argents lecture.

On a more critical note, I would like to address the pronunciation of the word: idea. It drives me crazy to hear world-renowned artists pronounce the word idea as i-dee-er. Artists primarily work with ideas. An idea fuels a process and a product that influences other ideas. It is clear that Lawrence Argent is not the primary executer of his ideas. Working with big budgets he is allowed the opportunity to work with other professionals to help plan and execute his ideas. The word idea has vast and general connotations; However, I feel the proper pronunciation would only have supported his role as the artist and legitimatized his primary work with ideas.

Works Cited

Argent, Lawrence. Lawrence Argent: Your Move. Retrieved 20 April 2012 from Lawrence Argent: http://www.lawrenceargent.com/public-art-projects/your-move

Sarah Tye Amelia Jones

SourceURL:file://localhost/Users/sarah/Downloads/Amelia%20Jones.doc

Sarah Tye

100211991

ARTH 3539

AMELIA JONES

QUEER FEMINIST DURATIONALITY: THE TRACE OF THE SUBJECT IN CONTEMPORARY ART

 

Amelia Jones is the head of Art History and Communication Studies departments at McGill University. She is highly influential in the analysis of Dada art, as well as the relationship between contemporary art and the feminine self. In her presentation Queer Feminist Durationality: The trace of the subject in Contemporary Art, she explores her begging question of the feminine identity in the art world, as well as arts impact on the feminine self. Her presentation was stomach-churning and nonetheless shocking, yet moving.  Continue reading

Visiting Artist Wapke Feenstra

This semester as a special opportunity for my sculpture class, I was able to participate in a group welcoming of artist Wapke Feenstra from the Netherlands. Continue reading

Paige Hirschey Lecture Review: Fredric Jameson

Paige Hirschey

2/23/12

LECTURE REVIEW: FREDRIC JAMESON Continue reading

Lawrence Argent

Lawrence Argent

I was fortunate enough to see Lawrence Argent speak at the Denver Art Museum. He started with a chronological overview of his pieces. Some of his earlier works consist contrasting elements; especially between smells and mediums. Continue reading

Georgescu-Lecture Review 2

Dora Georgescu

ARTH3539

Lecture Review 2

Visiting Artist Lecture at the Denver Art Museum: Lawrence Argent

Known for the big blue bear outside of the Denver Convention Center, Lawrence Argent is an artist who speaks of his works with both humor and conviction. Although he is lighthearted in his approach to speaking of his art, it was clear from his lecture, at the Denver Art Museum on April 18th, that there are at least two very strong interests he incorporates into his pieces. First, he searches for a historical understanding of each place in which he is to display a piece. He uses this understanding to create harmony between his art and the space it occupies. Second, he is interested in how humans perceive reality and he attempts to explore this question with his works and the process of their creation. Argent’s lecture was introduced with an explanation of five elements that make a public artist, like Argent, great. In this review, these elements, along with Argent’s interests will be explored in relation to several of his earliest and most recent works.

1: The work reflects the values of the culture:

Perhaps Denver’s most well known public art piece is Argent’s blue bear I See What you Mean leaning inquisitively on the Denver Convention Center.  True to his desire to incorporate historical meaning into his works, Argent looked to Colorado’s history and image when deciding what to design for the Convention Center. Colorado has a rather “wild west” history and although Denver hardly conveys this history today, it is still very much a part of Colorado’s image. Argent claimed that he wanted to “derail the kitsch ideas” of the wild west by integrating its typical image with the modern home of global exchanges that is the Convention Center.

2: The work has a sense of emotion or feeling:

While I See What you Mean evokes a smile tied perhaps to childhood memories of a cuddly stuffed animal, Argent’s works certainly tie to other emotions and even tangible feelings. Several of his earliest works, before he began his career in public art, struck me as both emotive and connected to Argent’s interest in history and human perception of reality. Argent’s chair with a video projection of many different people sitting upon it, titled Waiting, is humorous at first glance, yet it has the capacity to evoke in its viewers Argent’s own interest in history. Looking at this video installation made me think of how everything around us has a story and that everyone is connected through the objects they touch, the places they go, and the emotions universally experienced at one point or another in life. His more tangible piece Reflections consists of a washstand with a soap carved cowboy hat resting on a bed of soap on one side and oil reflecting a pair of suspended weathered boxing gloves on the other. I call this piece tangible because of its distinct play on the senses with the juxtaposing softness of the white, pleasantly fragrant soap and the slick, black pool of foreboding oil. It is with these juxtapositions that Argent explores how we perceive reality.

3: The work uses imagination:

While all of Argent’s works are imaginative, there are two that particularly stood out to me during his lecture. Whispers is a series of benches and five columns at the University of Denver that interact with their surroundings through a sound system that is activated whenever someone sits on the benches. Argent discussed that the purpose of these interactive sound elements is to expose people to an unexpected and unusual new perception of reality. The sounds emitted by the benches are pre-recorded lectures varying in subject matter; lectures that many of the sitters might not be exposed to, were it not for their chance encounter with a bench.  An interesting fact about these benches is that the fronts of the benches are carved lips, lips whose striking realism lies in the fact that they are created from molds of DU students’ lips. By using students’ lips, Argent not only created individualized benches, he documented history by leaving in stone the unique marks of a select group of students (perhaps some of which will go on to be great names in America).

Another piece that I found especially creative is Leap, a massive red rabbit suspended, to appear as if leaping, from the third floor of the Sacramento Airport. The rabbit is aimed toward a stone-made suitcase on the bottom floor that has something close to a vortex carved in the middle, inviting the rabbit inside. According to Argent, the airport is a place where we come with our baggage, both physical and literal and it is something so personal that makes up who we are in many regards. It is this concept of baggage and personal connection that inspired him to create the captivating red rabbit jumping into his own baggage.

4: There is a mastery of technique and use of material exhibited by the work:

The way in which the red rabbit was created is especially unique. Aside from the enormous undertaking of suspending such a large sculpture in a public space that was successful achieved, Argent also impresses with his unique technique of attaching red panels to the black rabbit. He did this so as to create an extra dimension to the rabbit and in doing so, once again he raises the questions of how we perceive reality. The rabbit is multi-dimensional but this is not necessarily visible from every angle. Rather, its appearance changes depending on each individual perception.  

5: The artist understands the value of the work:

At the end of the lecture, a member of the audience asked Argent how his works have been received by the general public. He talked about how the people of Sacramento were outraged by the enormous cost of Leap and how he believed that, while the expense was great, it is the value of what this piece adds to the city long term that outweighs the short term cost of constructing it.  As we discussed in class, not everyone will be happy with art, especially public art, which everyone is exposed to weather they chose to be or not. Argent accepts this with grace and speaks of the criticism he has received with humor and understanding. He understands that public art is not always accepted but he also understands the true value of his work that will endure criticism and continue to impact those who interact with it.

Lawrence Argent was an engaging speaker and his lecture was not only interesting but entertaining. His passion was palpable and I found myself being pulled in by his explanations. I especially enjoyed the fact that while it was clear he put a lot of thought into his works and tried to draw deeper connections between pieces, their environment, and what they represent, he did not come off as condescending. That is to say, he treated his audience as if we would understand exactly what he meant and this, in my opinion, actually did help me understand him.

Visiting Artist Series – Lesley Flanigan

LectureReview2ContemporaryArt Madison Goodman

Annie Davis – Lecture Review 2

An artistic icon of Colorado and its surrounding areas, Lawrence Argent is most known for his public art displays. On April 18th, 2012, he visited the Denver Art Museum to share some of the ideas behind his works. It was interesting to see the artist behind many of the pieces that surround our communities.

Continue reading

Lawrence Argent-Lecture Review by Ryan Baker

SourceURL:file://localhost/Users/ryan/Documents/Lawrence%20Argent.doc

Ryan Baker

Arth 3539

Lawrence Argent

            Lawrence Argent, a well-known sculpture artist spoke at the Denver Art Museum on Wednesday, April 18.  This was a very compelling lecture and I was excited to find out that I am actually familiar with some of his works.  Argent is from England, getting his undergraduate degree in sculpture from the Royal Melbourne Institute of Technology, and his MFA from the Rinehart School of Sculpture at the Maryland Institute College of Art.  Argent is a very famous sculpture artist known for his incredible sculptures all around Colorado.  I wasn’t really aware of him until he showed slides of his work like the big blue bear, that I was familiar with.  He has a very unique and unmistakable way of working and designing his pieces.  I was very intrigued to learn about the intricate processes that go into making one of his sculptures.  He shows great pride and passion when he talked about his work, and really went through all the details it takes to create his sculptures. Continue reading

Visiting Artist-Janine Antoni (Hsuan Wang)

Hsuan Wang

ARTH3539

Visiting artist

04/30/2012

Visiting artist- Janine Antoni

Janine Antoni is a contemporary artist who focuses her work on process; she gave a speech in CU Boulder on March 6, 2012. She talked many of her artworks in the lecture, when I first learn about Janine Antoni’s artwork at her presentation, I do not agree with her idea of generating theme through the process of making an art piece. Janine Continue reading

Artist Lecture – #2- paige lowe

Michael Franti

            I attended the Michael Franti concert because the artist lecture that had been schedule at 7pm was changed to 6pm when I could not attend. While others were at the Obama speech, I decided to attend Franti. Mainly because I could not be an Obama ticket. I am so happy with the decision I made. I experienced an amazing musical artist.

            E Continue reading

Argent Paper

Griffin Beste

Artist Lecture Review

Logan Lecture

Lawrence Argent

Continue reading

Response to Richard Tuttle’s Lecture (Franklin Perry Martin)

Response to artist lecture: Richard Tuttle

My first impression when Tuttle began to speak was, ‘Man, this guy has done enough drugs to completely lose his mind.’  His sentences were quiet and disconnected, he appeared to slip into a sort of daydream every couple of minutes, and often would lose his train of thought, pausing for long periods of time to collect himself.  Considering this was my first exposure to Tuttle and his work, I was quick to judge.  In my eyes his sculptures were childish and incomplete.  I was also even further removed from his stylistic tendency given the impression I received from his speaking style.  I assumed, how could someone so spacy have a clear mental image of what he was trying to communicate through his art?

Presently, as some time has passed between seeing him speak and considering his intentions and characteristics, I realize I was far too quick to sweep his credibility from under him before knowing a single fact about him.  From the notes I took during his lecture, and the information presented about him online, I realize that rather than being unable to communicate an idea, Tuttle is caught between the desire to express an expansive emotional feeling using inert symbols and the inability to do so fully.  I now attribute his ‘spacy-ness’ to the difficulties of explaining a deeply profound emotional feeling or realization to a group of people who has not experienced the idea before.  It seems similar to telling a story to a friend, and when unable to explain the true magnitude of the situation, you default to saying ‘you just had to be there.’

Tuttle validates this notion through his recognition of the belief that “art is a spiritual revelation…we have not made a sculpture that fully captures the abstraction of the [human] figure.”  I find this statement interesting and also true.  Interesting because there are so many diverse examples of sculpture of the human figure, from the works of Auguste Rodin to the white dancers erected in the lawn outside the Denver Center for Performing Arts, that at least one could potentially be considered accurate.  On the other hand, I think Tuttle is onto something here relative to the abstract side of the human figure that does indeed exist.  This abstraction, what makes a human who they are- their life choices, past experiences, and emotionality, is nearly impossible to communicate through a singular example of one moment in time.  This, I feel, is the pinnacle of the difficulties Tuttle has in imparting his experiential process of creation to any given audience.

“Richard Tuttle is a Postminimalist artist know for his small, subtle, intimate works.  His art makes use of scale and line…and span a range of media (Wikipedia).”  He has been criticized for just how minimalist his work actually is, and is considered the ‘artist’s artist (Wikipedia).’  I feel as though Tuttle can be considered the ‘artist’s artist’ for the same reason that I found it difficult to understand his motives when I heard him speak.  For other artists, Tuttle’s ideas of abstraction and the inability to fully capture it are easily grasp-able, as they have been considering topics of a similar nature professionally.  For those of us who have not exposed ourselves to these ideals and modes of thought prior to viewing Tuttle’s lecture, this becomes more difficult.

Tuttle’s lecture focused on his second exhibition “What’s the Wind,” a series of sculptures he calls ‘systems.’  These ‘systems’ are designed to “conceive of sculpture as spatial interpenetrations rather than concrete three-dimensional form.  Each sculpture is based on an outer “space frame” and an inner assemblage of elements made from various materials (ArtLog).”  Tuttle admitted that his orientation of the sculptures inside of their frames allows for separation of viewpoints and allows the audience to be brought ‘into’ the sculpture at certain angles.  He explained that the way the brain and eyes work provides a human with many opportunities and options for making sculptures out of what is offered to them.  He continued this thought to expand on this idea with the addition that people would rather be ‘slaves’ than deal with ‘freedom.’  Considering the idea that individuals may limit themselves to interpreting a single art piece in one way only, he attempts to display this learned helplessness through the restraints of his sculpting.

Tuttle’s most profound point relative to his artwork, that I think makes a lot of sense, is his idea that “art invites a number of elements to come into proximity and have a conversation.”  By displaying his sculptures in his unique way, both limited and augmented by their frames, he invites the human audience to come into close contact with his pieces and have a conversation with them- not literally, but in the abstract sense of the word.  This idea is relatively new in terms of artwork in my opinion, considering that I feel that most artists have a specific idea they are trying to explain, whereas Tuttle seems to want his audience to come to their own conclusions regarding his work.  I think that this perspective allows for a more realistic communication between artist, piece, and audience.  Without a strict guideline for interpretation, the audience is able to freely associate themselves with any aspect of the artwork, and (for me) this creates a more legitimate ‘conversation’ between all involved in the process.

Overall, my initial opinion of Richard Tuttle was entirely incorrect.  Considering I was quick and harsh to judge his personal appearance, and this clouded my ability to appreciate the deeper meaning behind his creations.  In the future, I will attempt to keep an open mind when weighing an artist’s personal aesthetic, and afterwards come to a conclusion about their career and creations.

 

Sources:

“Richard Tuttle.” Wikipedia. Wikimedia Foundation, 28 Apr. 2012. Web. 29 Apr. 2012. <http://en.wikipedia.org/wiki/Richard_Tuttle&gt;.

“Richard Tuttle: What’s the Wind.” Artlog /. Web. 29 Apr. 2012. <http://artlog.com/events/78539-richard-tuttle-what-s-the-wind&gt;.

Lawrence Argent

Kara Gordon
4/29/2012

Lawrence Argent Logan Lecture Review

I have always loved Lawrence Argent’s work at the Denver Performing Arts Center, I See What You Mean. I find it fascinating because of how well it fits into the environment surrounding it. However, it was not until I went to the DAM Logan Lecture with Lawrence Argent that I realized how much he invests in creating perfect site specific pieces. Continue reading

Lawrence Argent

Morgan Kairey

4/29/12

Visiting Artist

Lawrence Argent

           Continue reading