My concept compared to another artists...

http://www.whitecube.com/artists/ernesto_caivano/
ES - 4
2008
Ink and graphite on paper
41 x 96 13/16 in. (104.2 x 245.9 cm) (incl. frame)
 

For my final series of photographs my concept is the relationship of my future husband and myself and looking at the different emotions and situations we go through during this stressful ongoing process of growing up and becoming a pair instead of two separate people.  I have photographed the two of us in different situations. both together and apart, these situations show the angst and frustration, as well as the intimate times were we are at our best and worst. I think that of all the artists showing in the White Cube my concept is the most close to that of Ernesto Caivano. Caivano  works in a medium of ink drawings and is working with relationships between lovers, their emotions of "courtship, separation, retribution and eventual evolution". While our mediums are completely opposite the concepts are similar because they focus on relationships between two people.  

Concepts relating to someone in the class...MORGAN!

Verne Dawson, Jonah and the Whale (in the Whale), 2009. Oil on canvas, 108 × 100 in. (274.3 × 254 cm). Collection of the artist; courtesy Gavin Brown’s Enterprise, New York

I think that out of anyone in the class this artist concept was almost exactly that of Morgan's performance pieces. Dawson is mainly focused on the relationships and parallels between ancient culture and  contemporary culture through myths, folktales, and traditions that have been disconnected or forgotten from their original meanings and origins. This reminds me of Morgans work because she deals with concepts involving folklore and myths as well through her performance/photographic projects. In these performances Morgan sometimes reenacts these rituals that people in past cultures performed for mythical reasons. While this body of work is really different from Morgan's performances, they  ultimately have the same concept.

Commodity and the Spectacle

http://www.guybourdin.org/

Guy Bourdin

This image screams commodity. It is not about anything other than the shoes. I think the artist is in full support of commodity culture and I guess he could be critiquing it as well. I think that Bourdin is supporting commodity culture because he purposefully took the woman's identity and overall importance out of the image by completely covering her by the poll and only showing us the objects in which one would be able to purchase. While reading the Society of the Spectacle a few of the excerpts in the chapters caught my eye as being related to this image one of which talks about how commodity is the "domination" and "total occupation" of the commodity,

         "The spectacle is the moment when the commodity has attained the total occupation of social life. Not only is                   the relation to the commodity visible but it is all one sees: the world one sees is its world." ( Chapter 2, #42)

This quote is directly related to this image because the woman is taken completely out of the image and one is forced to only look at the commodity item, which are the shoes and the red jacket. This is also forced to happen because of the surroundings. There was nothing to look at besides the women in this striking red outfit, and then with the poll coving the face and hands we are forced even more to look at the shoes and jacket, which I am sure in the magazine this was shot for, has a list to the side stating where the consumer could find these shoes and the jacket and what the price was. 

This could also be a critique of  the commodity culture by the artist, by purposefully taking the woman's identity out of the image, which is out of her control,

"The agent of the spectacle placed on stage as a star is the opposite of the individual, the enemy of the individual in himself as well as in others. Passing into the spectacle as a model for identification. the agent renounces all autonomous qualities in order to identify himself with the general law of obedience to the course of things."

( Chapter 3, #61)

I think that by looking at this image, one might consider the artist making a statement about the model as a celebrity and how by being an icon, I guess, these people can be used themselves as a commodity, they are used to sell something because of the ability to be recognized. But they also lose that sense of identity, they are forced almost to express a human emotion toward something in order to make the spectacle seem real, "The decision celebrity must possess a complete stock of accepted human qualities. Official differences between stars are wiped out by the official similarity which is the presupposition of their excellence in everything."( Chapter 3, #61)

I think that this was a very eye opening book to read, and it opened up the way I view, pretty much everything, seeing as how our world is dominated by these spectacles of commodity. It is funny when I think really hard about it."

Add http://www.lisesarfati.com/01photographs/01theNewLife/index.php?s=&n=10

Lise Sarfati, Asia #14, North Hollywood, CA, 2003

I think that Sarfati's work is the most closely related to mine because of our use of color and capturing the as much of the room as we can while capturing the figure as well. I have done pictures of people and picture of rooms so far in my work, but not together yet and I think it would be a good step for me. I am definitely inspired by looking at these photos.

For this blog Entry I wanted to use images that gross me out....

http://www.teamgal.com/artworks/767

                                                                          Porn Grid (#2) 

                                                                         Marilyn Minter

                                                             1989, enamel on metal, 24 x 30 inches


                              I picked this piece of work because it is shocking and also very colorful. 

http://moma.org/visit/calendar/exhibitions/1100

   Arnulf Rainer. Untitled. 1969–74. Oil stick on gelatin silver print, 23 x 19" (58.4 x 48.3 cm). The Museum of Modern Art, New York. Gift of Joachim Aberbach (by exchange). © 2010 Arnulf Rainer


     I picked this one because I love when artists draw on photographs, it does not happen nearly as often as it should. 

http://collections.madmuseum.org/code/emuseum.asp?emu_action=searchrequest&moduleid=1&profile=objects&currentrecord=1&style=single&rawsearch=id/,/is/,/8822/,/false/,/true

                                        Mickalene Thomas, Afro Goddess with Hand Between Legs, 2006, C-print


 I liked this photograph because the subject and her surrounding are so interesting with the patterns in everything in the room and on her, and then you have this beautiful woman, taking full control of her sexuality....the only reason I put it with this grouping of gross, is because she is touching herself, I am pretty conservative and this makes me blush....

Jordyn Dorrance, Parking, 2011

I this images weirds me out because of the drips on the ceiling. This is a working parking garage and it looks ancient because of these drips, it looks like a cave.

Jordyn Dorrance, Patch, 2010

I am sure everyone can guess why this photograph grosses me out, he loves that candy bar.

Jordyn Dorrance,  The Dinner Table, 2011

I found this grouping of grossness on a table where one might eat, often, I almost threw up, so naturally, it needed to be photographed. 

Week 4 blog.



http://www.teamgal.com/artists/cory_arcangel/outside_exhibitions/200/here_comes_everybody



      Photographer unknown? Cory Archgel ,November 30th 2010 – May 1st 2011 ,Hamburger Bahnhof

I know that this picture is just documenting the artist simply setting up the piece he is showing but I love this photograph, I guess the photographer is unknown.

http://www.brooklynmuseum.org/exhibitions/norman_rockwell/neighborhood.php

Top: Louie Lamone (American, 1918–2007). Photographs for New Kids in the Neighborhood, 1967. Norman Rockwell Art Collection Trust, Norman Rockwell Licensing, Niles, Illinois

Bottom: Norman Rockwell (American, 1894–1978). New Kids in the Neighborhood, 1967. Look magazine, May 16, 1967. Tear sheet, 13 x 20½ in. (33 x 52.1 cm). Norman Rockwell Museum Archival Collections. Norman Rockwell Licensing, Niles, Illinois


I had no idea this is how these paintings came about. And not to mention how interesting these images are as original photographs...I never thought this is how his images came about.




http://whitney.org/Exhibitions/KarthikPandian   

Karthik Pandian (b. 1981), Cahokia: Stockade Wall, 2009. Digital photograph from the artist’s research archive for Unearth

At first I did not like this image. But then I kept reading and it was actually interesting to know what this set of images is about and I would like to see more. It was about looking at cultures from our past and not forgetting them. I dont see how this image relates to that but I am willing to look into it.

 

http://www.mfah.org/exhibition/eye-third-ward-jack-yates-high-school-photography/

                                                 Ivon Rico, Give!, 2010, gelatin silver print.

 I thought that this photograph was amazing, the action is caught just right and the thing that caught my eye the most was the bird in the top left corner that is coming off the image. Its beautiful, not to mention taken by a high schooler. 

http://www.camerawork.de/

                     Phil Stern / Courtesy Camera Work, Berlin - James Dean Pull over sweater, 1955

I thought that this photograph was interesting because of the position of the subject, it is funny to me, and I am trying to develop a style of portraiture and I think  that it is good to keep looking at other artists and how they take portraits to help me develop my own style. I also like the halo around his head.

http://www.saulgallery.com/chronicle/stephenson_light-cities.htm

                                    David Stephenson, Tokyo Tower and Shiba Park, 2010

               I was first attracted to this image because at first glance it looks like Paris. But it's not....

Jordyn L. Dorrance, Untitled,  2011

                      I like the shadows that the siding on the house makes. They are very dramatic.

Jordyn L. Dorrance, Untitled, 2011

           I like this photograph because I like how the door makes a perfect frame for the perfect subject. 

Jordyn L. Dorrance, Untitled, 2011

I am attracted to the photograph mostly because of the silhouetted figure and the long shadows the legs make along the sidewalk. I also like how he is perfectly in the same line as the light refection.