Her Name was Mona

After two semesters of editing and re-editing, setting type and re-setting type, ordering paper and re-ordering paper..and lets not forget painstaking and finicky printmaking processes... it is finally done. I bring to you: "Her Name was Mona" - a book about the irony of time passing and life coming around full circle. Printed Letterpress with polymer plates and handset type on French's Mowhawk Superfine (cement green) 70lb text weight paper. It was written, designed, edited and printed by yours truly. Special thanks to Mary Phelan for all her help throughout the production of the book. Here is a glimpse...

5x5 Print Exchange: Colorful Characters

The Book Arts/Printmaking program at UArts organizes a 5x5 print exchange each year for Graduates, Undergraduates, Faculty, and Alumni to participate in. This year's theme was "Colorful Characters" - you can interpret the theme any way you'd like and print in any medium. This is mine; I got on a little kick with playing around with letter forms, so I've created an image of two "colorful characters" made entirely out of "characters" from the Zapfino type face - yes, the apple and the leaves too...they're glyphs... i love glyphs.

Word Visualization: Philadelphia, Pennsylvania

This one is from a class assignment. We were to take a word (or a couple of words) and create a visual aspect with them. This could be interpreted in many different ways. I took the words "Philadelphia, Pennsylvania" and tried to create a city landscape with graffiti. "Philadelphia" is written in Times New Roman - all caps (white text) and Pennsylvania is written in Giddyup - all lowercase.

Another Paper

The Rest of Art (and its Function in Society)

Over a decade ago, Arthur Danto announced that art history had come to an end. In his book of essays, Encounters and Reflections: Art in the Historical Present, Danto suggests that art history has completed itself in the sense that it has achieved what it set out to accomplish. German sociologist Niklas Luhmann developed a social theory for art (briefly noted in Art in Theory 1900-2000), which involves a system that functions according to a set of activities that are unique to itself, yet operates within the larger social structure of society. In this essay, I will concern myself with Luhmann’s theory for art’s social function in comparison with Danto’s suggestion that we have completed art history. If we really have come to the end of art, what then, is the function of art within our society? What does this mean for the future of art?

Danto believes that our present state of confusion over the subject of art is due to the opaque terms of the postmodern times, along with the acknowledgement that we often engage with works of art in hindsight. Present times are defined by the fact that art has ended because we are incapable of understanding what it is like to make or define art without understanding the post phase of history in which we are now living. Danto believes that Avant-garde art has been motivated by the urge to become self-conscious of itself while also struggling to become its own philosophy – using Warhol’s installation of Brillo Boxes as his example. Warhol’s boxes demonstrated to Danto that what turns ordinary objects into works of art is a theory. Danto’s explanation of what Warhol’s artwork demonstrated was the final conclusion to art history’s project of philosophical self-discovery; and if Danto’s philosophical work has completed the story of art history, art history has in turn become philosophy. Through this transformation Danto thinks that there is no need for artists to feel as though they must contribute to art history, or to transform their culture through art. If this is the case, what is the function of art within our society? Is it purely a philosophical one? I personally believe that there is more to art than just a theory, and I also don’t think that all contemporary works of art can be pushed into the realm of philosophy; but I am intrigued by what lies ahead for the world of art as well as the perceived function of art within society.

Luhmann’s theory creates a set of distinctions for determining what counts as art, that which can be valid for both those creating as well as those viewing works of art. He begins with the idea that all of art is rooted in perception. He insists on the radical incommensurability between psychic systems (perception) and social systems (communication). Art is a special kind of communication that uses perceptions instead of language. It operates at the boundary between the social system and consciousness in ways that profoundly irritate communication while remaining strictly internal to the social system. Luhmann defines the system of art to be autopoietic, or “self-referential.” Therefore, the art system not only operates according to its own internal functions, but also generates these functions through self-organizing activities. This means that although the art system might interact with other systems it ultimately produces meaning on it own terms, and thus cannot be replaced by another system. Luhmann notes that art is certainly not free of function, but is also hesitant to place a definitive function upon it. In an undefined sense he regards the function of art as “the confrontation of reality (familiar to everyone) with a different version of that reality” (p. 1079). This coincides with the complexity of a world (art world) within a world (society), however it merits its own set of problems based upon one’s definition of reality. Luhmann notes, as well as Danto, that most of contemporary art has reached a stage of development where self-reflection is the primary subject matter. Western culture is one that is obsessed with itself, so I suppose that it is only natural that it be the focal point of our art.

I was unable to satisfy an agreeable explanation for the function of art through either of these readings, and naturally, such a brief account cannot do full justice to the complexity of my argument. However, I felt that both Danto and Luhmann proposed compelling ideas about the way in which the art world operates. I think that art is just another way to think, and that it challenges conventional ways of seeing, communicating, and understanding. It cannot be defined in its form or function within society and yet it continues to provoke these kinds of discussion – so I suppose that in a sense, it is philosophical. Perhaps a better question to ask is not “what is art?” or “what is art’s function?” but why do we (Western culture) continue to obsess over quest for the indefinable? I would propose that it is because we are always seeking for something new, something to further ourselves – to make us “whole” one might say. I’d like to close by pushing this question even further by stating that if art history has indeed completed its mission and therefore come to an end, and that the primary function of art has a philosophical tone, what does this mean for the future of our art? Won’t we get tired of hearing the same old arguments being made about art (and also being made in the art) or will the changing tides of Western culture be sufficient enough to change and develop our art in new and exciting ways? This proposition is yet another question that we are unable to answer due to what Danto says are the opaque terms of the postmodern times as well as the benefit of seeing in hindsight. They are still, nonetheless, important questions on our quest for the indefinable. I think the “end of art” – defined as art no longer having an important function within society (whatever that may be) – will not be realized until we (society as a whole) has come to complete our mission. That which is the search for “wholeness” and that, in essence, will not be realized until the end of time.

The Most Extraordinary

This is a project I did in response to a class assignment. First we were to talk about an artist who incorporates text and image in their work, then we were to model a project after their work. I chose Dave Huth and his vlog. Since I know nothing about videos I made a flip book and took a video of it.

Dr. Linton Hutchinson started asking people what was the most extraordinary thing they've ever seen. Dave has seen some pretty extraordinary things and has, so far, made five "Most Extraordinary" videos. This is mine...





Music by Old School Freight Train

Thanks Dave! You Rock.

Mistakes Were Made

Mistakes Were Made
A Works-in-Progress Exhibition of First-Year Masters of Fine Arts
Students in theBook Arts/Printmaking program at
The University of the Arts
March 18 through March 30, 2008
Gallery One of Hamilton Hall
320 South Broad Street
Philadelphia, PA 19102
Opening reception: Friday, March 21, 5:30-8:00 p.m.

First-year students in the MFA Book Arts/Printmaking Program at The University of the Arts present a group exhibition of their work at Gallery One, which is in the basement of Hamilton Hall. The exhibition includes new works by Amanda Benton, Alisa Fox, Andrew Huot, Ansley Joe, Robert Lewis, Terry Peterson, J. Gregory Pizzoli, Bobby Rosenstock, Erin Sweeney, and Susan Weinz. It will be an exhibition of varied works including artists’ books, installations, sculptures, drawings, posters, and prints.

Opening reception is Friday, March 21 from 5:30 to 8:00 pm and is open to the public.

The University of the Arts is the nation’s only university devoted exclusively to education and professional training in design, visual, media, and performing arts. For further information about The University of the Arts, call 215.717.6000, or visit us on the web at www.uarts.edu.



1st Image (post card) by Dr. Pizzoli
2nd Image (poster) by Kay Healy

The Little Black Book

Are you tired of searching for the one person you want to spend the rest of your life with - only to end up in one blind alley after another? Are you struggling to attract or keep hold of the kind of man you would like to settle down with? Do you ever long to be married and have a family, so that you can release the societal pressures and stigmatisms that come with being a 20 something...30 something...40 something (!!!) bachelorette? Then you have come to the right place.

The Little Black Book is a handy dandy reference guide for every savvy bachelorette who wishes to distinguish Mr. Right from Mr Right About Now Would Be A Good Time To Leave. Each section includes space to list your exes under the appropriate character reference and as an added bonus, you will find a recommended list of classic pick-up lines to run far far away from.

Now that's savvy!












the process...



"The Little Black Book"
(A reference guide for every savvy bachelorette who wishes to distinguish Mr. Right from Mr. Right About Now Would be a Good Time to Leave)

Wiro Binding
Printed Offset on Mohawk Superfine 70lb text weight at the Borrowsky Center for Pulication Arts at The University of the Arts, Philadelphia PA

Edition Size: 75

Do you know your Dada from your Mama?

This is a paper that I wrote for my seminar class... Not that I have anything supremely profound to say, but I figure it's a complete waste of my time to write it if my professor is going to be the only one to read it. So here it is, for all you bloggers to read... enjoy, and feel free to leave your thoughts.

Do you know your Dada from you Mama?
Is it art? Is it good art?
& Who cares?

The evaluation of art has become especially problematic since the 20th century. Upon its conception, Modern art has been based on rejecting tradition and breaking rules. But what happens when there are no more rules to break? When there is no more tradition? When anything and everything becomes acceptable as a work of art. More importantly, as both an artist and a collective member of society, why should I care?

First of all, what is art? How can we even begin to define it? Most artists of the present generation are interested in communicating an idea – commenting on life in all of its aspects – creating a work that illuminates the relationships between what we see and how we think. Bruce Nauman, a contemporary American artist, is quoted as saying, “It’s the intention that turns a staircase into a staircase as a work of art.” Nauman was a part of the Process Art Movement and finds inspiration in the activities, speech, and materials of everyday life. He has developed a simple, yet profound, notion for his work: “If I am an artist and I am in the studio, then whatever I’m doing in the studio must be art. At this point art becomes more of an activity and less of a product.” He is interested in the nature of communication, the inherent problems of language, and the role of the artist as a supposed communicator and manipulator of visual language. With this in mind he focuses on the way in which a process or activity can transform or become a work of art.

Ever since Marcel Duchamp took a urinal and entered it in an art show titled “The Fountain”, intent has been the sole requirement for something to be considered art. The question now isn’t “Is it art?” The question is “Is it good art?” Visual art is communication, it’s a visual language – there is a sender and a receiver. The artist is the originator of a concept or message and the viewer is the receiver of that message. However, they both must understand the same language for a dialog to take place, and this is where the problem begins. The artist can have all the intent in the world that what she/he presents is art, but if that message (intent) is not understood by the viewer is the piece still a work of art? To someone who understands the artist’s language it may very well be.

I’d like to digress for a moment and explore prehistoric art by citing an example that addresses Bruce Nauman's comment concerning intention. It used to be that the history of art started with the Woman of Wilendorf and the cave paintings circa 30,0000 BCE. However, "Gardener's Art Through the Ages" (2001 edition), sites a pebble from 3,000,000 BCE as possibly being the first example of art. The pebble was found at an archeological dig in Makapansgat South Africa. The pebble, although naturally formed, bears an uncanny resemblance of the human face and had to have been carried at least twenty miles to the site where it was found. This suggests that the Australopithecus individual who found the pebble recognized it as a miniature portrait, or at the very least, as something worth being valued. This simple recognition is an act of abstract thought. When we identify something as a work of art we are immediately distinguishing it. I don't think intent alone is enough to qualify a pi¬¬¬ece as art; a work of art is the manifestation of intent or inner vision, execution and communication. By inner vision I mean a vision of something that does not exist in our physical world; this may mean a totally novel construct or a juxtaposition of existing objects. Effective execution is utilizing media and technical skills to best translate this vision to the physical world. When this is successfully executed, the artists’ intent is (hopefully) communicated to the viewer. An understanding of intent through the visual language is key to communication.

In Esther Pasztory’s article “Thinking with Things” she reflects on the endless struggle to provide a definition for art by stating that “Theoretically, we all know what it is, but in fact we have no idea what we are talking about.” Pasztory goes on to provide alternative labels to replace the term “art”, none of which I felt were any more satisfactory or adequate. Art is the perfect term for art because it is such a broad and confusing topic – which brings me to my final point.

Why should I care about attempting to provide a definition for such a seemingly indefinable subject? Art in its simplest form is a discipline of one's own creativity. Technique, content, and every other aspect of art is simply that, an aspect of art. Art cannot be limited to what is acceptable and what is not. One of the truly great sides of art are the differences between the artists work and the people who ask, "is it art?" However, I am also reluctant to “cheapen” the meaning of art by applying it too broadly. And so the conundrum continues… This is why I care, because it develops and challenges thinking. I chose to be an artist not because it was easy or because I like to make pretty “things,” but because it is difficult – it challenged me and continues to challenge me because it is an ever-changing thing. I think of art as the bridge between our souls and the physical world. I see art as both an interaction between our psychological existence and our cultural expression of that existence. Thus, this can include challenging and sometimes disturbing imagery as well as the aesthetically pleasing. The artist's conceptual vision and his/her ability to translate this to an audience is what transforms the ordinary experience to a historically and culturally significant event. The text from an early neon work of Bruce Nauman proclaims: “The true artist helps the world by revealing mystic truths.” Essentially, the basic notion of the piece is emphasizing the way in which the audience, artist, and culture at large all contribute to the highest value and impact a work of art can/will have.

Collage

Tree Study

Pen and Ink Drawing
Strathmore drawing paper
"18x24"

Baby Bear

One of my fellow classmates (and his wife) recently had a baby. As a collective gift, a group of my classmates and faculty members, designed blank onesies for them. Mine was done using InDesign and Iron on Tranfers. The bear is made out of letters and symbols using Harrington Font. The baby's name is Lincoln Bear Hanscom....and so "the bear" was a common theme. You can check out the rest here http://theabandonedhouses.com/onesie.htm

Some Things

My blog was looking lonely, so this is just a quick look at some of the bindings/boxes that I learned throughout last semester. I start classes back up again on Tuesday and have already started to work on a few things....so more postings to come!

AB Biz Card

Roussillon

The following posts are a series of images representing the inspiration and realization of a large colored drawing I've been working on. The photographs were taken from Roussillon - a small village in the south of France which is situated in the heart of one of the biggest ochre deposits in the world. I was particularly fascinated with two things about the ochre quarries: the red, yellow and brown shades of earth that formed a striking contrast with the green pine trees and the vivid blue of the Provençal sky and the multiple layers of cliffs that produced some wonderful lines throughout the rock formations.

I used these photographs (along with a piece of bark that I broke off one of the trees) as inspiration to create a colored line drawing without using any white or black. (As opposed to the previous line drawing that I posted using only black and white).

Roussillon

Pastels on Coventry Rag Paper (40x50)

Yearbook Lady Logo/Business Card Design

Two different variations of a business card that I did for a yearbook representative from Herff Jones

TAXONOMY

The following posts is a project I've been working on for the past few weeks. It is a collection images of things that I am interested in. There are 110 cards total, all on 5x7 sheets of paper, using a variety of different printmaking and drawing techniques, gathered together in a ladder-slipcase box. The concept of the project was to create a personal image bank to show the way in which I think, create, etc. Thanks to all of you who helped contribute to the "Memories: Tell me a story" part of the project.

Taxonomy

Associations: Music

Collaged magazine clipings, Pen Drawing w/Sharpie, & Voice Box w/pull tab that plays music
5 cards (5x7)