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Contemporary Art, Tom Lloyd, 20121021-EDWARDS-slide-1P3E-jumbo, cri…

- - - - His works would be made of purely welded metals that would create almost abstract sculptures. However, these sculptures would hold some resemblance to images relating to slavery and racism in America. Having the titles be the main method of conveying the meaning behind his sculptures.
        
        His use of labeling would define the objecthood of his sculptures, filling it with meaning and connection to the pursuit towards equality.
  - - - His work would operate between the realms of pottery and sculpture, creating sculptural work primarily, but with influence from pottery.
        
        While he would make some pottery, like tea bowls, his work could be non-functional, changing the pot’s relationship to its tradition and objecthood.
  - - - He would arrange light as if it were a physical material like paint.
        
        These arrangements would oftentimes repeat and suggest the idea of endlessness, with the forms repeating off over and over into the distance, even when there is an end.
  - - - One of his works, called Die, was just a singular metal cube that would exist in a museum space and in an outdoor space. This work, while being very simple, would serve a goal of making the audience think, and ask questions about the work.
        
        Smith would often be the designer of his work, but wouldn’t be the one to physically create it. A team of people would execute his planned sculpture. This changes the relationship between the artist and the art object, making his work more conceptual in a way.
  - - - He argued that the few parts used to make Minimalist artwork, compared to the multiple parts coming together in Modernist artwork, makes Minimalist artwork weaker. That Modernist artwork makes constructions from the multiple parts that would resemble some idea of the viewers to find and think about.
        
        He believed that the importance of the viewer's perspective in Minimalist artwork made it so the work could be about anything, and not just one point of view.
  - - - Judd finds certain objecthood in a work of art to be incredibly important in how it exists. He finds that works that define their own objecthood, separate from any other resemblance of reality, to be the strongest.
        
        Judd sees that when an art object is able to stand on its own, without reference to reality or any part of it, it is able to separate itself from other works of its kind.
- - - - One of her performances, called Cut Piece, would involve her sitting in a room with a line of people. The people would then go through the line and cut off a section of her clothing with a pair of scissors. Eventually leaving her with little clothing left.
        
        Became a showing of human nature, that given the opportunity to violate someone people will.
  - - - She would use her whole body in work doing many different things with it. One of her works she read from a poem on a scroll that she pulled out of her vagina. In another one she used her body to make marks all over a wall, as she swung in a rope with a pencil.
        
        These works would discuss femininity and how the body could be sculptural.
  - - - His performances would involve him putting himself through different tasks or different scenarios. For example he clocked in like he was going to work for every single hour, every single day, for a whole year. Or he also spent a whole year outside, and another whole year inside a cage.
        
        His one year performances would be centered around the idea of passing time. Hsieh was an illegal immigrant from Taiwan in the United States. He was eventually given citizenship, but had to wait many years to get it, which could explain why his work related to the passage of time. It’s all he could do while he waited to be a citizen.
  - - - One of his most famous works called Shoot, would involve him being shot in the arm. The bullet was originally supposed to just graze his arm, leaving a trail of blood dripping down his arm. This didn’t happen because of the poor shot his friend took.
        
        He made many of his works during the Vietnam War, including Shoot. His performances could be seen as a type of protest to the violence that took place in the war.
  - - - She talks about how the visual appearance and qualities of the tea bowls were seen as more important than their actual functionality. These visual qualities would be heavily influenced by the Japanese visual qualities.
        
        However, even though there was a large amount of influence taken from Japanese tea bowls, this would not make the American tea bowls themselves actually Japanese tea bowls. Japanese ceramicists would not view them as Japanese tea bowls, but rather as just American tea bowls. They would not see this mimicry as directly copying that results in the Americans making the same thing as them.
        
        Jones believes that the complexity that goes into the creation of tea bowls in American pottery culture sets it apart from being cultural appropriation. She believes that it’s about influence rather than it being about copying or cultural appropriation.
- - - - His use of materials like paint and use of tools to scratch gave his films an interesting element that relates his work back to works that aren’t made by film. It draws a connection between the projected images and sculpture or painting.
        
        His work could be seen to have a strong objecthood because of how abstract it was, oftentimes not resembling reality, and sometimes resembling it.
  - - - Her work takes the thrown away relics from the past and gives them a new life, following some forms of abstraction, and sometimes a narrative path.
  - - - Her use of silhouettes that disguises the exact appearance and skin color of the figures makes the racist stereotypes and awful things that happened crystal clear.
        
        Her use of the almost cartoon like style is interesting taking an approach of making it almost like a children's novel.
  - - - She operated in between ideas of painting and ceramics, fusing the two mediums working painting into ceramics and ceramics into painting.
        
        Her pottery would not necessarily be actually functional, but would give the appearance that it could be.
  - - - Flusser argues that the very reason that we are able to perceive the objects, items, and things that surround us is because of the material that they are formed from. That the materials that make up an object are crucial in giving the object their qualities that make us perceive it the way we do.
        
        The material of an object is still important to what it is, even if it’s not the primary focus of the object.
  - - - Gives a visual description of a work made by Mary Miss, that shows the scale and treachery of the structure. The description of the work clearly shows how the sculpture has a different relationship with the space it is in than the typical sculpture that has been seen. That it is expanded beyond just being representational.
        
        Krauss says that the work is a sculpture, but at the same time is also what she calls an Earthwork. Stating that it is a sculpture, but is different.
- - - - His pottery serves to depict people of color and their cultures on pottery that is seen as regal or fine china that could or would be seen as from high society. His goal is to place them there to make them be seen and their culture known.
  - - - These figure portraits would make the person larger than life, giving them a presence of power and strength
        
        Her interesting use of materials shows how no matter the material artists have the ability to make them have meaning, create powerful effects, and show beauty.
  - - - His works would display lights in abstract arrangements that show no real link to some kind of narrative or meaning.
        
        He would make the art that he wants to make, which differed from the standard of African American artists making work in pursuit for equality. This type of work would depict the past and present of African Americans and all their struggles.
  - - - His works would abstract the concept of a prison itself, creating an abstract shape that defamiliarizes the idea of what a prison is like. This separation of what the prison is like could almost be used to show how prisoners would be taken away from everyone else in the world, in spaces that we don’t know much about.
  - - - Discusses the importance of prison art and the impact of prisons. Shows us how prisons and museums are places of governmental power where they can choose what we should or shouldn’t see.
        
        Defines carceral aesthetics, or the creation of art in a space without freedom. Forces artists that are imprisoned to imagine other worlds to escape from the conditions they are living under.
        
        Discusses the importance of how convicts are held out of sight, and kept out of the view of the outside world.
  - - - Colonialism made the colonized people seen as inferior and the colonizers as the superior culture. So much so that it prevents the colonized people from having their own sense of identity.
        
        Fanon says the result of colonialism on black colonial subjects was that they cannot identify as themselves because of the color of their skin, that they wanted to be white. It was perceived that white people have everything and black people have nothing. This then resulted in black colonial subjects being taught that white people are human, but black people are subhuman and that the only way they can be human is by being white.
  - - - Transforming, or revising, the language at the margins are made and allow all people to speak and have their voice be heard.
        
        That minorities shouldn’t lose who they were or are to follow the majority who’s voice is clearly heard. That it’s important to remember who they are and make that known, rather than conform and forget.