Art
I am earning two art credits this year for the following projects :
This is one of the places where I excel most in Pilot, because I just want to create prolifically, without end. If I’m bored I end up thinking about these projects, they keep me up at night because I just want to keep thinking about it all.
At the beginning of the year I set a goal to make more intentional work, and I have been doing that but I don’t think that was exactly what I meant for my goal to be, I want to be creating work that is important and meaningful, and I believe that those are things that can only come after you know how to create artwork that is intentional. I want to be able to talk about issues with my art, I’ve spent some of this semester exploring Theater of the Oppressed, which is theater that addresses social issues and I am very inspired by the idea of that. But I want to be individual, I don't want to do Theater of the Oppressed, I want to do my own social art. That’s my goal for next semester: Make work that is intentional, meaningful, and important, because it addresses things that need to be addressed.
Developing Craft
There is so much theory that exists in the art world. My particular example is from a section of Theater and it’s Double by Antonin Artaud where he talks about the language of theater and how everything on the stage has a purpose and sends a message based on where it is, what it looks like, how it interacts with the space, etc. The same goes for a painting or drawing, a line or color in any point on the page tells part of the larger story and adds something to the painting. Understanding the language of a medium is really how I am improving my art.
I am trying to make intentional art work and the first step to that is making intentional decisions.
Performing, Presenting, Producing
I created three pieces of work that were culminating projects for the Art Show. These three pieces, Portrait, Spinning, and King Lear Character Study, are some of the best work I have ever produced, both technically, and conceptually. Portrait in particular was a huge victory for me. It is a hugely technical installation, with three projectors running simultaneously, as well as having a complex setup with loads of fabric. It is also a very conceptual piece, I can talk about it’s theory for ages, but a viewer can also do that is they want to because everything that there is to know about the piece is presented in the text.
The work I did on Zero Hour is very similar, but has been a much more calculated project, I would perform sections and then decide whether or not I actually wanted that piece to be part of the greater production. I have 4 videos of Zero Hour on my youtube channel each in various stages of completion, totaling for about an hour and a half of performance. There are also many other videos of performances that I facilitated or created myself.
Connecting
Everything informes everything. All my Pilot projects are connected at the edges. The ideas of Theater of Cruelty that I use in spinning are applicable to Portrait: Part 3, and the way that I performed all of Portrait informed the way that I run The 20,000 Project.
What is comes down to is that all the work that I do in Pilot is about building a bank of knowledge that I can apply to any of mediums that work in.
Responding
I have two formal art responses this semester, one to FUCKMEGUNTERBRUSBRUSGUNTERMEFUCK, a performance by Miguel Gutierrez, where I explored the piece’s themes and format, and talked about what made it art and how it related to the greater world. The second has not been done yet because the art show has only fully been up one day.
In addition these formal written responses, I try to engage with all the pieces of art I see, especially when there are other people looking at it with me. Examples: Zak Kline and engaged in a discussion about Laurie Anderson’s The Dream Before. We talked about what we considered the song to be about and how the meaning changes when you watch the short film that goes along with it. Orlando WW and I engaged in discussion about the film Nocturnal Animals, where we talked about the role that editing and cinematography changed the way the story is perceived by the audience.
- Zero Hour
- The 20,000 Project
- Spinning
- Stage 16
- Portrait
- Lighting
- Extraneous performance and art work
This is one of the places where I excel most in Pilot, because I just want to create prolifically, without end. If I’m bored I end up thinking about these projects, they keep me up at night because I just want to keep thinking about it all.
At the beginning of the year I set a goal to make more intentional work, and I have been doing that but I don’t think that was exactly what I meant for my goal to be, I want to be creating work that is important and meaningful, and I believe that those are things that can only come after you know how to create artwork that is intentional. I want to be able to talk about issues with my art, I’ve spent some of this semester exploring Theater of the Oppressed, which is theater that addresses social issues and I am very inspired by the idea of that. But I want to be individual, I don't want to do Theater of the Oppressed, I want to do my own social art. That’s my goal for next semester: Make work that is intentional, meaningful, and important, because it addresses things that need to be addressed.
Developing Craft
There is so much theory that exists in the art world. My particular example is from a section of Theater and it’s Double by Antonin Artaud where he talks about the language of theater and how everything on the stage has a purpose and sends a message based on where it is, what it looks like, how it interacts with the space, etc. The same goes for a painting or drawing, a line or color in any point on the page tells part of the larger story and adds something to the painting. Understanding the language of a medium is really how I am improving my art.
I am trying to make intentional art work and the first step to that is making intentional decisions.
Performing, Presenting, Producing
I created three pieces of work that were culminating projects for the Art Show. These three pieces, Portrait, Spinning, and King Lear Character Study, are some of the best work I have ever produced, both technically, and conceptually. Portrait in particular was a huge victory for me. It is a hugely technical installation, with three projectors running simultaneously, as well as having a complex setup with loads of fabric. It is also a very conceptual piece, I can talk about it’s theory for ages, but a viewer can also do that is they want to because everything that there is to know about the piece is presented in the text.
The work I did on Zero Hour is very similar, but has been a much more calculated project, I would perform sections and then decide whether or not I actually wanted that piece to be part of the greater production. I have 4 videos of Zero Hour on my youtube channel each in various stages of completion, totaling for about an hour and a half of performance. There are also many other videos of performances that I facilitated or created myself.
Connecting
Everything informes everything. All my Pilot projects are connected at the edges. The ideas of Theater of Cruelty that I use in spinning are applicable to Portrait: Part 3, and the way that I performed all of Portrait informed the way that I run The 20,000 Project.
What is comes down to is that all the work that I do in Pilot is about building a bank of knowledge that I can apply to any of mediums that work in.
Responding
I have two formal art responses this semester, one to FUCKMEGUNTERBRUSBRUSGUNTERMEFUCK, a performance by Miguel Gutierrez, where I explored the piece’s themes and format, and talked about what made it art and how it related to the greater world. The second has not been done yet because the art show has only fully been up one day.
In addition these formal written responses, I try to engage with all the pieces of art I see, especially when there are other people looking at it with me. Examples: Zak Kline and engaged in a discussion about Laurie Anderson’s The Dream Before. We talked about what we considered the song to be about and how the meaning changes when you watch the short film that goes along with it. Orlando WW and I engaged in discussion about the film Nocturnal Animals, where we talked about the role that editing and cinematography changed the way the story is perceived by the audience.