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Printableweepingwall said: plus your basically missing out on the beauty and point of art if your thinking about the aesthicism of your piece of art
I'm not really thinking about it in the sense that I'm trying to "deconstruct" its beauty, if that's what you mean. That would be like eating soup with a fork. The problem that I've tried to describe on this thread is rather that the intuitive, non-intellectual impression I get from certain pieces is ambiguous, or shifts from time to time. Had it been my cerebral interpretation that had changed then that would have been more understandable (since that can be affected more easily by context, added knowledge, etc), but since it is something that should be ingrained and instinctual (and thereby quite consistent) that changes it becomes all the more confusing. | |
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My take on art is how it strikes you. A first impression of attraction that then draws you in to look more closely, like a well presented meal before you devour it. In light of this I would cover the picture/piece up for a week or so. Unveil it and see what affect it has. When the impact of anything I am working on confuses me I always put it down or away for a while. Happy is he who finds out the causes for things.Virgil (70-19 BC). Virgil was such a lying bastard! | |
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heartbeatocean said: retina said: True. I love to finish what I started. It's so rewarding and as you say, it can be quite cathartic. I too have made a number of films so I know exactly what you're talking about. And all the compromises you have to make along the way....gosh I'm so happy when I reach the end of it sometimes! These days it can sometimes be quite hard to really reach the real end of creative projects though. Take my photography for example. A number of years ago a picture was a picture. You could tint it and crop it slightly when you developed it, but that was pretty much that. Now that we have digital photography and Photoshop and such things, the process never ends! There are just so many possibilities out there to explore that you find it almost possible to make a final decision that this is the product and it's final. I don't know how many times I've tweaked my latest pictures in a thousand different ways. It's crazy...  
Same thing goes for film, if not even more so. Remember when you'd actually edit 16 and 35 on a Moviola or similar? Then when you cut the film, you actually cut it! You'd better make sure that cut was a good one or you'd have to paste it back together!  Digital editing has changed all that, for better and for worse.I know what you mean! Technology is like a bottomless pit. Now that I'm out of school, it's much easier. I have no access to technology and no money to support my work. So it's just back to the basics. And my work has much improved and I'm a whole lot happier.  I think when you have the luxury of time and resources, you can get lost in the process and in your own thoughts. And sometimes that makes for really bad art.As much as I enjoy digital art, traditional paintings/drawings/sculpture do have a more personal presence. I usually get yelled at when I go to museums because I like to get real close to a painting and stare at all the brushstrokes, and other markings. It just feels more like you're stepping into the artists shoes for a moment. Although, with regards to photography, I think going digital is probabbly the best thing that happened to it. The old fashioned way of messing around with developers, stop baths, fixers and toners is a pain in the ass. Working digital frees you up from all these time consuming processes, and allows you to focus more on the images themselves. | |
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retina said: Tom said: If you know a few other people who are into art as well, maybe invite them over, tell them to bring their work too, open some wine and have some informal critques, crits are one thing I miss the most from my college days, I loved them. Really? I was way to sensitive to criticism back then. I swear to god, I practically kiss the ground that I walk on every day I no longer have to attend those %*#@!)&%$!! critiques.  
Sometimes it's easier to work on a picture when you give yourself an assignment of sorts. Pretend you're working on a project for someone.
True. Good advice! 
You wouldn't believe how many more screenplays I wrote at film school than I do now, for the simple reason that at film school, there was actually a specific context in which I knew they would be used once they were finished.  I had a conversation with a very successful artist last year, who shows her stuff at the NY MOMA and all over the world. She said that the way she keeps producing is she sets up deadlines for herself. Often she'll commit to something, just to have a deadline.
This conversation really affected me and I've started following that path. I proposed a project to an art gallery a couple of months ago, they programmed it and published the show in a calendar and now I have to create the piece.  Yup, that'll do it. | |
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PREDOMINANT said: My take on art is how it strikes you. A first impression of attraction that then draws you in to look more closely, like a well presented meal before you devour it. In light of this I would cover the picture/piece up for a week or so. Unveil it and see what affect it has. When the impact of anything I am working on confuses me I always put it down or away for a while.
You're a hat! You are a damn hat with legs! What could you possibly know? I just spent 500.00 framing art... I am less worried about the art itself and vastly worried if the frames are proper in the least.... | |
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Muse2NOPharaoh said: PREDOMINANT said: My take on art is how it strikes you. A first impression of attraction that then draws you in to look more closely, like a well presented meal before you devour it. In light of this I would cover the picture/piece up for a week or so. Unveil it and see what affect it has. When the impact of anything I am working on confuses me I always put it down or away for a while.
You're a hat! You are a damn hat with legs! What could you possibly know? I just spent 500.00 framing art... I am less worried about the art itself and vastly worried if the frames are proper in the least....
Don't forget it's what's under the hat that counts! I know what you mean about framing, our pissing cleaner knocked one of my pictures off the wall last week, My first thought was the the cost of replacing the frame not the importance of the picture inside. Happy is he who finds out the causes for things.Virgil (70-19 BC). Virgil was such a lying bastard! | |
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I can't say. If it's you as the artist it's always pretty much the same procedure: you notice you're getting unusually inpired, it starts out promising, you'll love it when it starts to shape up, then you love it even more, then you start noticing something is wrong, you start hating it and after a couple of more days you just sort of cope with it. Tolerate it, maybe it'll appeal to you once more after a week and you'll feel like a frickin' genius momentarily again. Good luck, you just chose the lifestyle of hell the moemnt you began to think making art might be a lot of fun. 
I don't think there are any aesthetically pleasing or displeasing objects that would defy the forming of aesthetic judgements though, so I don't understand the latter part of your post.  | |
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Novabreaker said: I can't say. If it's you as the artist it's always pretty much the same procedure: you notice you're getting unusually inpired, it starts out promising, you'll love it when it starts to shape up, then you love it even more, then you start noticing something is wrong, you start hating it and after a couple of more days you just sort of cope with it.
Yep, that's pretty much the standard process.
That's what I mean though; usually you end up coping with it. The piece "finds its form" so to speak, and although your perception of it might change a little bit depending on your mood you pretty much know how you feel about it. However, with some items you can just stare at it any number of times and still not be able to tell if it's good or not. I guess the real question I should ask myself is what is worse; to throw it away and thereby lose whatever might have been good in it or to keep it and stay confused? 
I don't think there are any aesthetically pleasing or displeasing objects that would defy the forming of aesthetic judgements though, so I don't understand the latter part of your post.
Yes, you obviously understand it, you just don't agree with it! | |
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PREDOMINANT said: Don't forget it's what's under the hat that counts!
The legs? 
 | |
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heartbeatocean said: This conversation really affected me and I've started following that path. I proposed a project to an art gallery a couple of months ago, they programmed it and published the show in a calendar and now I have to create the piece.
You just had to slip that in there, didn't you?
Seriously though, congratulations! Can you describe the piece? . | |
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retina said: heartbeatocean said: This conversation really affected me and I've started following that path. I proposed a project to an art gallery a couple of months ago, they programmed it and published the show in a calendar and now I have to create the piece.
You just had to slip that in there, didn't you?
Seriously though, congratulations! Can you describe the piece? . Well, it's not so much to toot my own horn, but to show an example of how to keep moving forward and producing outside of the classroom. It's a very small, experimental gallery so it feels low-risk enough for me.
Here's a thread about my project (which has gotten no replies  )
http://www.prince.org/msg/15/176550 | |
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retina said: I guess the real question I should ask myself is what is worse; to throw it away and thereby lose whatever might have been good in it or to keep it and stay confused?
I've come to rather follow the first one, even if the idea of losing all the time you put into the work itself isn't the most appealing. The thing is, if ít doesn't outrightly please you as a subject (its creator, but also yourself as the observer) are others going to take great delight in it? You can mourn about the time you've spent making it or alternatively you can waste yet even more time on it attempting to correct it (which usually won't work out, so you could have spent the time on a new piece instead). It's sad, but some things just have to be thrown away. You know "there are no happy endings". | |
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