Social Communication Design

It has long been brought to my attention that most people are not aware of the power we hold in shaping the identity of an environment. A simple gesture as saying hi to a stranger and indulging oneself in a quick conversation may in fact make someone's day better, and ultimately enstill a wonderful memory of the location in the person's mind. The particular sidewalk, busstop, or a bench will become identified as the place of an enjoyable memory, and even become a recommended place of destination for others.
   This can be brought to a realization by a simple design ornamenting a part of the environment. Perhaps next to a bench or a usually crowded area of the street. The proposed initial step is a poster. The poster would contain a logo which would invite the viewer to an understanding of the significance of greeting. A simple poster which would be reproduced and widely spread around a chosen city, in this case New Brunswick, would contain a person and the words 'say hi'. after a while of seeing the design daily in the streets, it would be known for its purpose, and as a result people would be reminded to greet and perhaps even engage in a conversation with the common stranger sharing the sidewalk, bench, or a busstop.

This design would create a great form of communication, where people would be inclined to greet one another on the street. It would ultimately help people identify the place as a place of friendship and even happiness. Communication is an important aspect of life which must be excercised in a higher dose in order to advance intellectually and avoid the silent but deadly take over of technology which presents itself in computers, cell phones, or ipods that prevent people from true one one one interaction.

A design specifically geared towards pedestrians on sidewalks would enhance the poster's effect and create an immediate response at the sight of both. Such sidewalk design would require the overall reshaping of its original dimensions. The standards which it originally adheres to would narrow down, meaning the sidewalk would be literarlly created as a narrow walkway from one place to another. This narrow path would force the pedestrians to share even a smaller space and have them closer to one another. This strategy of having a poster promoting greeting exposed to the community right before the reconstruction of the sidewalk would ensure that the person will at first understand the message attempting to be pushed through and ultimately practice it when budging shoulders in a fairly contstrained walkway.

This design would not only become an architectuaral and a conceptual feat, but would also portray the importance of a step by step process which is meant to slowly bring the people to communicate with oneanother at areas where everyone is a stranger.

crowded sidewalk

'say hi' poster

1st year MFA SHOW: 'You Are Here I am'

Enriched with conceptually stimulating works of art, the show’s curatorial process was able to exhibit 2D and 3D works in a shared space successfully. Upon entering, the sculptures of Max Cemeno greeted the viewer and gave an insight on how technology, machinery, and the non organic can take over the organic aspects of life, in this case animals, and have a particular function. The pig’s head being a mere gateway through which red liquid, only to be interpreted as blood is flowing into a barrel continuously, becomes endearing to the extent where the viewer must examine the barrel itself and question its ability to constantly remain with the same content of the liquid as it keeps flowing in. After the realization of the simple machinery conducting the display, the eye is met by a furious shark ready to attack, just as the fighter planes of the pacific were meant to do as they were decorated with bulging sharks on their noses. Yet again the viewer is brought to the open boundaries created by Cemeno, where the organic and the non organic are fused together to create another form of function in the space they both share.

               

   Being nothing short of stellar, the sculptures instantly sold the show. However, it was only a prelude to a vibrant exhibit that encompassed the main room and the smaller branched out gallery spaces. To compliment the 3D works of art, paintings such as deANGELO’s and Camperchiolises series made the exhibition  even more inticing. To contrast both, the encounter of a 3D hanging on a wall, done by artist Jim Brittingham gave a legitemate diversity to the show. The collaged material on the surface is compositionaly appropriated to have the eye guided through by the color and the static reflections of light. It is interesting to see an  intricate quality of line combined with a more roughly applied material, only to be painted on with even more vibrant colors. The only proposed problem would be its constrained rectangular display, as it diminishes willingness of the rough material and the genuine writing to respectively expand throughout the gallery wall.

                  It is all such intriguing works that lead the viewer to one of most astonishing features of the show. Created as an installation, it could be also more precisely recognized as a sculpture and a video piece, the work assembled by artist  Stefanos Milkidis took over one  of the gallery spaces only to bring a viewer into a world of entrapment. It is the chaotic presentation of video on the wall and the ceiling of the room displaying entrapped persons that give a feel of entrapment, which is then accompanied by a sculpture present in the video, in which it is the reason for the state of mind and the physical nature of containment. Such presentation makes the viewer  visualize the horrid state and consequently even become part of it.

                  The artists were able to present a challenge to the viewer and toy around with the viewer’s mind not only with their work but the title which brands their show. It is intriguing see a diverse goup of work be put  together in a gallery and give back something to the eye, it has never seen before. It is inspiring as much as gratifying to be able to see a show of such creative degree.

Designer: Marian Bantjes

Bantjes, a Canadian designer who was born in 1963 and soon after became internationally renowned graphic designer who works with costum type and ornament Her style which seems almost obsessive it how it’s depicted it’s the primary factor which gained her international fame. The art is very detail , one could say even decorative. The primary feature that holds her work together is pattern. The intricate, obsessive handwork that creates the particular images puts the viewer in awe of her ability to have patience to perform such a task, and even the compositional sense to put these ornaments together to create a grateful and an inspiring design. In 2005 she was named one of the top 25 up and coming designers, while others have called her the most innovative typographers today.

                  In an interview, she has revealed the routine of her days and how she spends them, now that she is a professional designer. She has admitted to taking some time before doing work a project unless the deadline is closed. As she wakes up she checks the emails and simply surfs on the net until she gets hungry, at which points she will break for food. Apparently her day doesn’t start until the mi afternoon and does not end until she goes to bed when feeling tired. She has revealed that it is very likely she would alter  her work time for some fun time when it’s a sunny day out or just simply relax inside.  

                  In her line of work, she has already achieved what most of designers strive to achieve, and it is to collaborate with another great and internationally acclaimed designer. In this case, Marian got an opportunity to work with Stefan Stagmeister. They worked together on a project in Austria. Stagmeister simply asked her to design a saying in a nice and readable form that was to be displayed to the public.

                  Aside from Stagmeister , she has worked for a number of international companies such as Saks Fifth Avenue, Young & Rubicam Chicago, The New York Times, the Smithsonian in New York, and was consequently accepted to the prestigious international design organization.  Next to all this accomplishments, she also owned, ran, and designed a firm with a partner. The firm was established in 1993 and she had worked with it until 2002, when she decided she wanted to capitalize on the design skills and create more individualistic works, which cam to be the obsessive looking patterns covering the covers of book or other surfaces. This led her to become the Chair and Creative director of 2006 Graphex Canadian Design Awards. She currently still lives and works in Canada.

Sources:

http://www.designboom.com/contemporary/bantjes.html

http://www.designweekvancouver.ca/programme/speakers/articles11.php

Modernism and Movies

The city of Paris consisting of newly modern structures and a way of live is suddenly being explored by a curious American tourist, who cant wrap his head around it all. At first the grey and gloomy modernist feel is being expressed by a building made of glass, where the tourist comes in contact with many new and confusing features of modernism. A simple chair becomes entertaining to the tourist as its simple design misleads him into expecting nothing of it, until he sits down and suddenly sinks down into its cushion. This modernity gives almost an austere impression of the environment as it’s depicted in grays, without any emotion or life.

As the tourist becomes further engaged in the environment, one can see it that this seemingly modernist and conformed system can become not as conformed, as things begin to fall apart at the restaurant scene. The message is clearly about modernism and the its interaction with a human, especially one who hasn’t been introduced to it yet. This particular restaurant scene also holds another hidden message within. One that implies modernism is is fit to adapt to any kind of a situation. For example, as everything began to fall apart, instead of fixing the particular things, they were adjusted and suddenly became part of the room and the design. As conformed as modernism seems, it is open to adjustments and change. 

                  Made in the late 60’s, the movie of modernism shares the decade with yet another film that was made whose message was more free spirited and not conformist as opposed to the Totty’s depicted modernism. The Monterrey pop was a festival that was documented for others to see how entertaining and inspiring can an event become where people with a common interest of music among other things can unite and go appreciate the music being performed to them by various well established artists. In simple contrast to the modernism film, which was mainly composed of a grey toned palette, the Monterrey Pop film included multitude scenes exposing the colorful clothing expressively worn by those who attended, more commonly known as hippies in the sixties. This colorfulness establishes singlehandedly establishes a point of separation between the two films conceptually. Thematically, although Totty’s film may imply on the disadvantages of a modern society, however, it is not as literal as the documented film of the festival, where just the performance of Jimmy Hendrix gives out this free spirited message of expressiveness and nonconformity. This particular scene, and the mere fact that Jimmy Hendrix is a black male performing ties into  Tatti's movie with the funny restaurant scene, where the black male is being identified as the band player without a question. It is the same period of time and even though one portrays expressiveness and the other more of gray toned feeling, they share the social status opinion. It is impossible to see a colored black man or a woman in the modernist film other that in the band as it is hard to see any black faces in the audience of Monterey Pop.

Thesis Journal

Vanessa Beecroft

Spencer Tunic

Currently the concept of identity has been my primary focus in painting. The human figure is mainly identified by what is worn, or an environment is identified by what it surrounds. However, striping them of what helps one recognize its function, creates the question of how far can the mind be taken beyond the recognizable. Recently I came across photographer, Spencer Tunic who places human figures in public places and strips them off their clothing. Similarly to him is another photographer, Vanessa Beecroft who as well takes such photographs in more of interior settings. These photographers currently influence my work as I strive to portray nude human figures in a public setting. However, in contrast to the photographers, who simply have the models pose, I try to convey a sense of functionality to these figures, as well as their surrounding environment.

Design and Technology

Museum Piece

The article encompasses two pieces exhibited at the MoMA for The Modernist Poster exhibit. The two pieces were done by April Greiman and show exactly how much of importance does technology play in contemporary design. She explains the importance of the computer when creating an image. She has been able to draw, paint, and photo collage unto it with the use of a program.  Being written over two decades ago, the article only shows how much more the computer and its uses in design have progressed.

·      Greinman has two posters in the MoMA exhibit The Modern Poster

·      Graphic Paintbox is the program used to draw, paint, photo collage

·      Design must evoke emotional response

·      Design is a visual communication

·      Hybrid Imagery

·      Shows Swiss typography in her work

·      Designed posters for 1984 Olympics

Pixel Perfection

Pascal Dangin’s work as a fashion photograph retoucher has influenced not only designers but audiences around the world as well. This article takes a closer view on  the workings of such a profession and the workings of Dangin. He is the person to come to when a model or a celebrity needs to be retouched on a photograph. He suggest solutions and afterwards retouches the photograph. He has made it clear that this profession doesn’t just require computer knowledge and Photoshop skills, but also art knowledge itself. Designers who aspire to do what Dangin does, must attain knowledge of the anatomy of the human figure, as well as some art history knowledge.

·      Dangin can reimage an entire photograph

·      Creativity should lead technology, rather than the other way around

·      Dangin worked his way up from being a shampoo boy at a Salon to where he is now

·      His clients include French & Italian Vogue, Vanity fair, Times Magazine

·      ‘Box Studios’, Dangin’s company has 80 employees operating in a four story warehouse.

·      Described as the “human oxy pad”

Design and Art

But , is it Art?

            Dorst isolates the identity of the designer and that of a visual fine artist. He stresses that both extremes would not make one as successful in their profession as would the collaboration of both fields. In the contemporary art schools, fine art is taught separately from design, thus narrowing the students knowledge to almost a one sided street. Designers are taught to create art within prescribed limitations, while the fine artists have to sometimes create their own limitations in order to create a successful piece of artwork.

-       design tends to be inferior to art in the contemporary society.

-       Artists often do not work within strict limitations given by the client as the designers do.

-       “all art is designed even if it endeavors to appear  otherwise

-       The process of the artist and designer ultimately become the same as they progress to convey the subject matter.

M/M Discussion

The diversity between fine art and design is getting more clearer as the articles follow up on each other. This time, different ideas about the role of artist and designers is being pointed out. It is made evident that artists have created a new place for their identities. Because of their freedom of expression, they no longer belong in the world of restrictions designers have to abide by. However, because of that, designers create work that relates to the world and to the audience more so than some of fine art does, which in contrast is appreciated more by the society. Once, design and art went hand in hand together, as artists had to abide by the client’s rules when ordered to decorate a ceiling of a cathedral. The artist was able to design the walls and still express his own particular style guided by his principles of creativity.

• Art and design should be respectful of one another
• Art has become more separated from everyday life
• The interviewees work together with a variety of artists and designers
• Some designers do not want to be looked at as artists
• Designers solve others' problems while artists solve their own.

Art's Little Brother

Art is given a much higher status than design. This particular article supports it and adds that they are separate in ways mentioned in prior readings. Designers deal with the reality and artists create their own. The article brings about the fact that there were artists who chose to specifically separate art and design, such as Judd, and people such as Arad who tried to put the two together. While it has been also pointed out that design is closer to furniture than art, Personally I believe design is just a branch from a tree called art, along with illustration or sculpture.

• Art doesn't have to be beautiful, but design should
• Often times art takes from designs, but still dominates it.
• Art stands on higher ground than design
• Designers must deal with function and practicality
• Matisse suggested the continuity of art and design but not its conjoining. 

Design: Sustainability Practice

1.      Use non-toxic ink when printing.

2.      Use Recycled paper.

3.     Recycle used paper.

4.     Use smaller sized paper.

5.     Write and design in smaller fonts, so more can fit into a single page.

6.     Proof print as little as possible, in order to save paper.

7.     Utilize as much space as possible, when possible , double sided printing.

8.     Use internet instead of regular mail, where the same services can be provided by both.

9.     Use staples or tape instead of glue when papers need to be attached.

1    Do not use plastic bags when shopping.

Proposed sustainable way to design a project: Steering away from paper all together when designing would help decrease the amount of wasted paper by others, and even encourage them to use other surfaces other than paper, when printing graphics and such. There is an acrylic medium, which can be used to transfer images unto surfaces such as a canvas, or wood. A designer can use this process to paste his designs unto such surfaces and therefore save paper. Although it would take some more time and dedication, the results would be jolly and green.

Design: Vernacular Design

Professionalism, Amateurism, and the Boundaries of Design

As seen in the title, the most striking factor of this particular article was the back and forth play between amateurism and professionalism in the world of design. Describing the role of professionalism in earlier centuries depicted the transition of its meaning to the contemporary times. Before, one with a set profession was looked upon as a royal, and most even were. However, now profession belongs to those who engage, succeed, and later immerse themselves in their favored studies to a point where it becomes their career. On the other hand amateurism links to those who engage themselves in a field out of passion, but for whatever reason do not have the proper education to back it up. Amateurs create out of their own expression, disregarding what others might say or think. This gives them freedom of expression, and broadens the horizons in designing, whereas the professional designer usually must conform to the authority who lays out the paycheck, and therefore, is strangling the ever so important freedom of expression the amateur designer possesses.

·      -Artists promoted their individuality, whereas artisans were anonymous workers.

·      -Amateurism presents the designer with a greater freedom  of expression as opposed to the professional.

·      -Amateurs have a better relationship with their clients

·      -Whether professional or amateur, both belong to the same structure of design as art form.

We’re Here to be Bad

Focusing solely on praising amateur or ‘inappropriate design’, the article seemed almost as a call for designers to stand up and fight against the corporate world who have artists trapped within their worlds and not letting them create what the designers truly have the potential to create.  The basic aim of this particular call for change is to free designers of the boundaries they are constrained to when creating. In this case amateur or unconventional design is the way to reform and be ‘bad’. It is interesting to see, that even the design of the article itself seems unconventional and goes hand in hand with the idea of a designer’s revolt. The way the images were placed randomly throughout the pamphlet, along with the continuously changing fonts, it gives the reader a hint of an attempt to get a provocative message out, not only through the meaning of words but their design, and the inappropriately designed environment they are set it.

·      -Vernacular is slang, an invented language rather than taught

·      -Professional/appropriate design appeals to the large mass of people

·      -Amateur/inappropriate design questions the view of the large mass off people they have on the normal design

·      -Rules about what is appropriate narrows down the possible

·      -Designers are supposed look and think outside of their limitations to create something unique

Design: Sustainability

Sincerest Form of Flattery

The creator of biomimicry, Janine Benyus has initiated a new trend for a variety of industrial designers.  Such designers now consider biologists and others, who are knowledgeable of nature’s works to have their pitch at projects.  Benyus understands that nature as a self dependable entity has answers for problems the contemporary world resolves with other means of technology.  For example, nature’s own spiders produce such complex and whimsical structures such as their webs to survive right around us, and could be the basis of a major architectural project.

·      Janine Benyus is the founder of Biomimicry Institute

·      Biomimicry is the practice of imitating nature’s ways of design to create sustainable projects in the society.

·      Biomimicry can help design evolve  with the help of nature’s wonders.

·      The philosophy suggests heat and explosive forces aren’t te only way to create.

·      Natural resources should as important to the contemporary world as the artificial ones.

Speculative Prehistory of Humanity

 Buckminster Fuller truly believe the society has come to appoint of taking energy for granted. He believes people do not use the products to their full potential, and because of that, energy is wasted.  The average household wastes 95/100 units of energy that is consumed. Because energy is not seen by the naked eye, the consumer becomes oblivious to anything relating to it. Fuller strongly believes society should take more interest in science and understand the workings of energy and how it’s being used or wasted.  In the contemporary world, industries should be able manufacture products that are environmentally efficient, it is then that public would become more conscious of their environment.

·      -Efficiency can be found in simpler forms of physics

·      -Scientist should change their focus from creating new weaponry to creating better life for humanity

·      -Technology which nurtures us is the most valuable asset to our live, not money.

·      -An efficient society leads better and happier lives

·      -Contemporary societies don’t understand science.

A Question of Design

William McDonough and Michael Braungart focused on displaying the importance of the Industrial Revolution and the impact it made on the contemporary technologies and design. The initial innovations evolved as people were trying to solve problems that fought nature’s way. That eventually proved to be a significant factor in today’s mistreatment of it. They imply that manufacturers began manufacturing products with the intent, that they would last for a certain period of time and it was to be expected for them to stop functioning, as they should at one point.  This suddenly stared the ’throw away’ culture, which ultimately encourages people to keep buying new products.

·      -Industrial revolution initiated the overlooking of the negative aspects of technology

·      -Working against nature, making own rules

·      -Public is harmed by the design of production during the industrial revolution

·      -The industrial revolution led to the depletion of artisan skills

·      -The initial belief was that nature can provide sustainability forever, however, now the world sees otherwise.

Design Readings #2

Without a doubt, it is safe to say that the assigned articles revolve around ethics in contemporary design.  Whether it was  “ Critique of the American Apparel’, ‘ First Things First 64 and 2000 Manifestos’, or ‘ The Responsibilities of the Design Profession’, they all played off of one another as a group to create a view with various angles on today’s design.  That is why it’s important to speak of these articles as a group rather than try to deconstruct them piece by piece.

            Even before reading it, the most appealing article of them all was the ‘Critique of the American Apparel’. One reason being advertisement. Its provoking designs have met the media plenty of times, which immediately cast a lasting impression of the company in my mind.  The article speaks about the ways that are used to bring consumers in. However, the images of young looking girls in a submissive state show the viewer much more than the style of a shirt or the pants the model is wearing. This can particularly clash with the thoughts of the 60’s where designers tried to gear design toward more conservative causes, such as designing book, signs, industrial photography etc… They were trying to establish more useful ways of communication through the skills of design, as seen in the Manifesto 64’ article.

            Furthermore, the Manifesto of 2000 shows that design has now merged same paths with advertising and now are both predominately one of the same. Viewers are now even lured into the image and persuaded by the particular design to go after the product or idea being advertised. It shows that contemporary design is more about the designed product manipulating the way a viewer feels. Poyner however, sill believes as in the 60’ that design should be useful and lasting, but unfortunately it is a factor today’s design still lacks. This is mainly because according to Poyner, today’s designers’ creations are mostly based on the ‘political choice’, meaning rather than having the design used for a lasting purpose, it is used for corporate/commercial purposes.

The article which personally seems the base for the other readings is that of Herbert Spencer and ‘ The Responsibilities of Design Profession.’ Because it was still written in the 60’s, it remains vital for the minds of contemporary designers. The addressed issues in the article are the products of entering a new era in design. Designers being motivated to out do the other, losing of the printing tradition, and overall design becoming more advanced or complex created the system designers live in today. Whether it’s American Apparel or any other company which tends to exploit and use design in a seemingly unethical way according to the original manifesto, they give design this new/ contemporary feel which was never felt before the 60’s. It is important, however, to move forward and develop design and its characteristics because design is essential to the way one views the world and its assets through it.

Welcome Back Show!

Although there were sculptures and numerous other paintings screaming for attention as I walked into the first exhibition space, nothing pulled me into its world as much as this particular piece. Its positioning was perfectly aligned with the view of the one who has just entered the gallery. As I closely explored the painting, its technique became that much more intriguing to my taste. It was the composition which has simply won my attention over. As my eyes were eager to explore the empty black surface in the middle of the canvas along with the orange-yellowish marks created on top, they just could not. It was the simple bright circle on the lower side of the painting, pulling the the eyes along with the weight of the painting to the bottom. Because the painting is vertical and the placement of the circle is at the center, on the lower side of the canvas, it brings the surrounding space into play. We associate the floor with gravity, in which case it is now pulling the circle and the weight of the pictorial surface with it, creating a conceptually pleasing composition.The reason for this particular pick is simple. Already being introduced to a piece with an unusual composition which kept winning my attention over any other extraordinary piece in the room, I was easily lured in by the design stemming from a similar concept of the previous one. The quiet surface of the canvas depicts an intricate layout of positive and negative space, which suddenly becomes overshadowed by the 'scream out' orange -symmetrically placed shapes, yet again at the bottom of the canvas. Once more I must force my eyes away from the tempting orange if I dare to explore the subtle design accompanying the orange shapes on the bottom. It is the simple trick of colors and composition which can overwhelm the viewer that I am most excited for at a show. That is precisely why I have chosen these images.

This next piece visually cooled me down after being exposed to a multitude of colorful pieces in the space. Stripped of its color, one would think it would give out a dull feeling. However, personally it did not. Because of its 3 dimensional feel created by the particular strokes at the center of the surface, the viewer is no longer thinking black and white, but also 3D. The composition is not only created by the presented line quality, but more importantly the negative space which surrounds the shape. In addition, this negative space subtly divides the lines that create the piece and with a lighter tone of the background color holds the strokes together, while giving the dominating shape a 3 dimensional feel. Yet another way to keep my interest alive and eager to look at artwork surrounding me.

Steering away from 2 dimensional work, I arrive at sculptures occupying the same space as the multitude of paintings on the walls. This sculpture in particular seems to give out a unique aura of some sort, that I haven't felt around other work. Although it did not catch my initial attention, it took the remaining time I had to offer for the examination of its interesting design. It was perhaps the color green that gave it this 'out of the world' feel. The thin poles with flat circular platforms on their ends created a network of energy and expression. It seems such factors would be enough to create a sculpture of uniqueness and all else it needs to offer for an art-hungry viewer; It isn't. After taking a closer glimpse, perhaps even a touch (shhh) it was clear the design was precise about its presentation. As it could only stand on one side, it became baffling how there seemed to be more weight on the other. A well thought out plan on the part of the artist and a great feat of exploration for the viewer.

Ending this review with another 3 dimensional piece, I must say the few sculptures there were, they did balance out the 2D work, simply because of their interesting concepts which had that much more to offer for the viewer. This piece works well conceptually with the green sculpture as it too has an unconventional positioning of the cube. Right next to it is an object being connected with yet another interesting feature. The three create a sense of brotherhood and belonging to one space. It is the    object that is binding the two that lets the viewer know it is a sculpture of one. Without this connection one could be lost and lose the feeling of belonging. The metallic look of the cube creates a contrast between it and  the dark part of the sculpture sitting next to it.  That is a subtle factor, however important in keeping the 3D piece interesting. However, the main factor which brings all this pieces in this review together is obscurity. Personally I found it important to look at these pieces and create interpretations without knowing their names. It brings that much more curiosity into play as well as more room of exploration.

Interview with Enrique Guerrero

The privilage of interviewing student artist Enrique Guerrero was all mine. He gave me the opportunity to walk into his world and explore the ways he has taken to create art of his own. He has shown me the importance of thoughts and feelings which embody his paintings, as well as the role of symbolism he uses to convey messages dear to him. Unlike artists who strive to convey a theme through a particular painting style, Enrique aims to depict his themes or message strictly through the visual content. However, to fully understand Enrique's world of art, it is imperative to dwelve into the conversation the artist and I engaged in.

Me: So, this is a self-portrait. It's a very dark painting. Is it about sadness?

Enrique: No, it's about identity, It symbolizes me. Me and my personality. People are defined by what they do.

Me: Does the brush you painted represent anything?

Enrique: Yea, the brush symbolizes me. Me and my personality.
Me: Ok

Enrique: You know like, people are defined by what they do. It's like when a bussines person carries a briefcase, they are defined by it. So when people ask you, "What do you do for a living?" And you say "I'm an artist", you have that brush. But here, the brush is painted on the floor, so I lost my identity, and people can't define who I am anymore, that's why there is darkness painted behind me.

Me: hmm... I see you also have a collage.

Enrique: Yes. I'm trying to depict people here who are forced to live a bad life because of a war. I used the American Eagle logo to represent America in the Iraq war.

Me: Why did you choose to write over it, especially, the word 'life' in red?

Enrique: I want to make it dramatic. That's why I used a brush and just expressivelly wrote it in red. 

Me: Why do you also like collages?

Enrique: I like to deal with real, physical things, and put them together.

Me: What else interests you?

Enrique: I'm also into religious pieces. For example I have a painting of my friend, with a composition of one of Caravaggio's paintings.

Me: I see you have a nice portait. Your friend?

Enrique: Yea.

Me: Hm..she's kinda cute...does she go to school here?

Enrique: Heh, yea.

Me: Your style seems very solid and the painting looks rendered to the last detaill. It looks finished.

Enrique: Like you said, you rarely know when a painting is finished. I have the same issue.

Me: The painting does give out a sense of feeling.

Enrique: Yea I try to show the feeling with what I depict. I know you try it with the way you paint.

Me: Yea...is she a senior?

Enrique: Junior I think, hehe.

Me: Another selfportrait. I feel like you're trying to symbolize something here.

Enrique: This is also about identity. I want to show that I'm more reserved with the way I painted it. The look and being in 

the dark.
Me: Portraits I see here resemble Picasso style a bit.

Enrique: Yea I've been told that many times before. I've been looking at Picasso, Gaugin, and some Expressionists This painting was supposed to be realistic but then I felt like I wasn't going anywhere with it, so I just decided to paint it loosely and do whatever comes to my mind.

Me: I feel like you were trying to paint it realistically, but could'nt do it, so you turned to abstact.

Enrique: Well, it's not that I couldn't do it, I just thought it was dead and that it could be more interesting.

Me: So sometimes when you paint realistically, you feel like your paintig is dead?

Enrique:Yea sometimes. I just feel it. Like there's something missing.

Me: What oils do you paint with?

Enrique: Old Hollands. Usually when I paint, I first paint the base black and work from there.

Me: I feel like you're using a particular technique.

Enrique: I sometimes read books on old masters and their techniques and get ideas from there.

Me: Do you use any spirits when you paint?

Enrique: Yea, Liquin and I add it with the paint. It also helps the paint dry faster.

Me: Do you prepare you palette before you go painting?

Enrique: No, I use the canvas as my palette. I have a a blue, red, green,yellow, and white and mix them on the canvas.

Me: I lso feel like you have a drawing quality to your paintings.

Enrique: Yea, I love Da Vinci's drawings. He's my favorite artist.

Me: How long have you been painting?
Enrique: Since High School. I liked drawing and painting from the beginning.

Me: I feel like all your drawings and paintings have similar qualities I could quickly recognize.

Enrique: Yea should we keep going?

Me: Nom I think we're good...Thanks.

Design Readings...

No Logo

By Naom Klein

·      Branding is being preferred over production by companies

·       Branding dwells on the idea of one’s lifestyle

·        The teenager becomes a global factor

Naomi Klein tries to point out the actions of multitude of American companies that are trying to catch the attention of the regular American shopper. Such companies switched their original priorities, which were based around production of goods, and aimed to achieve the best marketing techniques to gain the consumer’s trust. This article is mainly based on the economical part of the general system.  Basically companies which moved their production overseas, now could concentrate on brand marketing

Branding the Individual

By Jane Pavitt

·      Shopping is a way of communication

·      The consumer defines the brand and the brand defines the consumer

·      Buying not only merchandise, but an identity

Unlike Naomi Klein, Pavitt focuses on the more physiological aspect of branding. She emphasizes that companies lure the consumers in by letting them know they are buying an identity. Even though the consumer feels as if they have the choice to purchase what they want, in most cases they don’t because of the manipulative media and marketing the companies use. This creates numerous problems within communities who are driven to compete with one another over who has the better brand and are therefore are divided into a different social status.

Fabien Baron

By John Seabrook

·      Aspires to always keep moving forward

·      Wants to create a movement

·      Known for ‘letting the oxygen in”

Fabien Baron seems to be of a different personality who likes to go with the flow and always move forward. He has created “The Club”, which is a group bringing artists from various fields together and aspires to create a movement where art becomes direct, simple, and forward. It is his ultimate philosophy, that past is the past, and moving forward is imperative in order to gain the best in art.

WATER EXHIBITION

            Before stepping into the exhibition space, my mind screamed ‘water’ faster than you can say it.  As I was walking down the Zimmerli staircase, the only subject dominating the periphery of my vision was a net full of water bottles. That became the first installation to not only attract my interest, but focus it on the essence of water, as the water filled bottles lured me into being thirsty for at least the next hour.

            There was no way that feeling of thirst would go away, thanks to the brilliant  organization of the show by Donna Gustafson. Entering the next room, Hans Haacke’s “Condensation Cube” took me away as it not only depicted water in its state but also its process. Along with Maya Lin’s  “ Dew Point” and “Pin River” the show exalted innovation and diversity in the contemporary arts. These installations were well complimented with a multitude of photographs which depicted the natural wonder in a variety of contents. Whether from its polar life depiction, its mere function, or the affect it has on the environment and people, it all came down to the fact that they all made me thirsty.

            The exhibition not only gave me answers of what it is water can do, but posed questions regarding its presentation; Especially Maya Lin’s “Pin River”. Lighting was essential in this piece, as a particular cast shadow depicted the flow of a river. The artist wasn’t there to install the work, nor to give it intended lighting. However it was up to the curator to decide on the lighting. Should the curator now take some credit for such work? Unfortunately, I couldn’t figure it out since I was too busy searching for a water fountain.

            All the pieces seemed to flow well with one another, as a river would. There  were only a few boulders which disrupted its flow. The integration of  18^th and 19^th century work into a space filled with a new fresh smell of contemporary art  personally seemed a bit too disruptive. It was almost as if the curator had a little too much extra room to fill after the more exuberant pieces were installed. At least they made me feel less thirsty.

            Regardless, the show was rich and powerful in its portrayal of our precious natural wonder. From the installations to the photographs and paintings, my eyes kept widening as I walked from one space to another.  Needless to say, my thirst was quenched as I indulged myself in water at a near by water fountain as I ended my viewing of “Water”. That is a sign of a successful curatorial job.

 The Ice and Ark piece made an enormous impact on my first impression, I would use it to lure the viewer in and let such installations be expected.

Maya Lin's "Dew Point" would fit in will with installations the shown pieces, since it has a physical effect on the viewer as the others.

The Condensation Cube portrays water while in its process. It would compliment the other depictions of water, where the content is specialized around its state of being. 

 The Pin River adds more variety to the room filled with the other three pieces, as the view learns to recognize the importance of light in its presentation.