Week fifteen: November fifteenth on

Started the week attending a lecture at the Center for Contemporary Art in Rockland. The photography panelists represented artists, educators and professional services. I enjoyed the comments and critiques made by the alternative processes artist [who brought everything back to telling stories] and Andy Graham who sees the practise and spoke to the practise of art making. I was bored at several periods in the lecture as the conversation stuck on mundane redundant points of digital media: cool abilities, legitamacy of the input and value. This seemed lame to me. This is 2010; everything is art. Anything valued as communication and effective in its conveyance. Oh well... These excessive bows to professional photography and collector's resentments humored me if nothing else? I looked at Andy Graham's website and I am very excited that this studio can make my images huge so I can create the installation I've dreamed about as I drive that 28 miles again and again and again... Orange Tape!!!
The week took as side step due to family materials. I made the best of things and explored the collecting of stuff in my parents home. A dear friend, Dr. Fitchner, once said "Stretch. You're not a collector you're a consumer." The contradictions and mass of visual materials is awe strucking. I love the masses of books.
We made it back to the north woods and this morning I meet with my mentor to review the past month's work. It was a productive meeting reviewing, discussing choices that effect my voice, and looking to how I will present the works in Vermont. Great week. Cheers!

week fourteen: November 8th on

Sunday I studied puddles with Avis. Eric changed tires on the unamog, and I got some great pictures of that. This morning I studied my bathroom while A. dismantled the dvd collection. On the drive to town I studied the mile markers, flaggin tap, and interuptions of the excepted. There must be cutting planned because there is a lot of new tap. De Certeau’s critical theory of the production of space into policy and practice engages how I see both the paths through which I engage the day and the characters of my community and the multitude of roles we play. I am thinking about the tactical intimacy of the 8x10 camera and the way it opens a discursive space of dialog because of the technical need to produce the space: set up, read light, communicate the necessity of stillness, etc. The exchange brings us close and allows for depth otherwise taboo. Taboo in that I perceive American culture as desiring a comfort envelop whereby people are kept at arm’s length: don’t sit with strangers and no one lingers too long. The eight by ten allows a level of detail one cannot achieve in normal life without staring for an uncomfortable time. This interests me. Herein we have another question. 
 

week thirteen: November 1st on

Rabbit Rabbit...

What constitutes space? How do you configure space? The work of Olafur Eliasson offers many perspectives on space. His questioning of our particuilation, causal effect, and value of opinion lifted my spirit in this time before the election [axnious]. Eliasson's works play with space producing machines which interprete. He explores ideas through his laboratory experiements, explorations and mechines.  The archetechural ideas of space and coproduction with the viewer produces phenomena that are about the relationship and experience as points of view. That is what interests him because those are the open spaces that are inclusive and offer perspective of differences. The artist's participation in a dialog offering another terjectory or question. He asks us to think about space in different ways.