Err? where am I?http://1.bp.blogspot.com/-YXCYCzj8QYo/TuAAwhbwBpI/AAAAAAAAACg/BzgcHPvAnL0/s320/photo.JPG

Jim I have a bunch of sketches but I'm posting these four in good faith. Here are a few gouache sketches of mashed up magazine ads. I'm still trying to figure out how to incorporate the type element of my art as is was hard to paint the text in a way that was befitting of the work i was doing. When i get my hands on some charcoal i will be crank
ing them out. As i was flipping through these magazines i started to notice a correlation between the text and the figures them selves. In many case it almost seem to mimic not only the form of the figure portrayed but also he feeling that emanated from the entire advertisement. I was pretty much in aw at how totally sexist the magazine was i was reading. I guess i should be shocked but i really have never picked up on this before. Im looking for way to turn the tables

ables and exploit print media and mass media. I guess these sketches are the start of it. I'm pleased with these sketches but i have a lot of kinks to work out.

Journal entry 5

We have read a few chapters from a book entitled digital mantras by Steven R Holtzman. In chapter 12 through 14 the author writes about the analysis of Kandinskys work by Lauzzana and Pocock-Williams. The two people go on to create a computer program that could mimic Kandinsky art by function of a set of rules developed by the program. In the next three decades this program would be able to draw from a blank canvas, abstract images with brilliant colors all by following a set of rules. By following these rules the computer was following a method of art making that many artist follow as well.

I began to find myself asking a lot of questions about this whole situation and relationship between the programmer, program and the artwork produced. Was the programmer the artist because he created the program that produced the art? Or was the program the artist because it had produced the art work? On my constant search for where the difference lies between art and design I find myself acquiring more knowledge about the topic at hand. The harder look the more I realize that may be one in the same and can depend greatly on the intent of the artist whether they are producing a piece of design or a piece of art.

journal entry 4

I have been doing a lot of research on the definitions or both are and design and the age old question what the difference between them is. During my research I came across a few interesting articles this one is off the AIGA website. The article discusses how designers use type and imagery to convey a certain message. It seems to me that fine art such as painting can revolve around that same definition. Artists often use imagery and type to convey a message. This article comes from another designer’s weblog which goes on to state that the main difference between art and design is their underlying purpose. It also states that art usually comes from within with no clear starting point and design and a distinct starting point but this does not take into account commissioned art. The debate between these two areas of study is very confusing to me and I would like to a little bit more research so that I better understand it. To combine my drawing talents with my design skill to me would be the ultimate accomplishment but without the knowledge of what separates the two I am in the dark.

Journal Entry 1

The first group critique I had with Jim was very enlightening. It was a really good thing to be able to see other peoples work from the thesis class. It was also interesting to see student work in other disciplines besides graphic design. The discussion I had with Jim about my art was really informative. As a graphic design major I included my design work in the critique but I also showed Jim some of my drawing. He came up with an interesting point. That I should try and combine my design work and my drawing into on uniform thought and then convey that trough my thesis project. I had never thought about doing anything like that and I think it is a great idea. This is something I will be exploring for the next couple of weeks.

Interview With Liz Flood

1. Describe your work.
I work mostly with oil paint. I tend to paint figures. I guess I kind of adopted the Greek attitude of (WO)man is the measure of all things. I like color, I couldn't imagine working without it. I tend to make very feminist pieces which used to be by accident now it's generally on purpose. At the end of the day my goal is to like what I’ve made and generally I do.

2. Follow up number 1. Based on that description what issues do you feel your work addresses? How? I think my

work addresses a lot of women's issues. Marc (handle man) says I tend to deal with issues of violence and women. Which I don't want to do. The general populous agrees that violence that targets women is bad. But the people who seek to hurt women specifically drive me nuts. I couldn't deal with those issues without driving myself crazy thinking either I hadn’t made enough of a statement, or that it won't help. I would feel helpless. Now I try to portray women in a spectrum of emotions that (hopefully) show how women are valuable and empowered.

3. Do you feel your work belongs more in a gallery in a studio? Why?
I think they belong in both places. I think my paintings would look good in either places. When I look at them I try to see them on a clean white wall in some fancy place. But if I left my painting in a studio I could always keep coming back to it to add more,

4.Who do you think this work appeals to the most?
I'd have to say women. I really want women to see this and be happy to see them represented. As a woman when I see women represented they're used as objects to sell something. And I don't like my entire gender being treated as an object/commodity. I do feel guilty that I totally don't feel like giving men any credit. But they've had a very long time to be the alpha in the power relationship. Even now women I feel women are still in a bit of a hole. I’m rambling. Sorry ill stop.
5. If all the color in the world suddenly vanished would your work be affected or unaffected? If it would be affected how badly?
It would be affected very badly. Color is so important to me and my work, and my life in general I would be devastated. Color means too much to me, and helps me be expressive in my work.

6. What is the biggest

reference you use when creating work?
I use so many different ones it's very difficult to list them all. But generally the visual references I use are things I find opulent.

7. If you could have any artist (any medium) critique your work that would it is? Why?
Nancy sperm. In most of my work I always have something of hers in mind when I make something. I think she did so much work that I enjoy, that speaks to me as an artist, a woman, and a viewer. I also admire her ability to keep making art when she had a family to maintain. I know she married Leon Gollum and I believe they had 2 boys. To me that admirable.
8. Do you feel your work speaks to people across generations?
No, I feel

my work is well placed here in the 20/21st centuries. Mamet caught a lot of flack of Olympia, G

alileo spent the last few years of his life under house arrest, and I think if my work traveled back in time it would not be understood or well receipted. If it wasn't I really wouldn't want to get in trouble for it. I would probably defend my work and then get more in trouble for being a woman and speaking my mind.

9. Why is it important to you that you continue producing work (in any medium)?
Difficult to answer...I can't really explain it. It just is important to me.
10. If some crazy accident happened tomorrow that prevented you from continuing your current work would you continue to make work (in any medium)?
I would. It would be more important to me in that instance.

11. What is your ultimate goal for your art?
I really don't know. I mean what painting student wouldn't like to see their work in a gallery/museum.


12. What is your ultimate career goal?
I don't know. My life is in flux often.

13. If you never reach your ultimate goal what else want/could/would you do?
Have a family? That an awful answer, but that it. Very average.

14. In a perfect world was a viewer think and feel when looking at your pieces? Why?
I would drive myself nuts being an activist. So in an ideal world I would want people to understand how I felt when I make them, hopefully recognize it in themselves and feel the need to right wrongs, act up. Fix things. Believe that things will be better if they get involved.

15. Do you think or feel that generally the viewer understands what your are trying to get across?
No. Well, depends on the viewer. Someone in my painting class could understand, but some Joe schema off the street that will at best look at my painting for 30 second

s I doubt would understand. I look at a love of references when making a painting and even on a good day I know my exactly intent and purpose isn't getting through I don't expect to be understood. Which can be very frustrating? My ego tells me that I do have an interesting point of view and that I should keep working on my visual language so people can understand me more readily without dumping myself down. But...i do wonder if that’s too egotistical.

16. Has there been a time when you felt a piece was successful, but just about everyone else disagreed?
Yeah, I had a crib where everyone ripped me a new one. I had 2 things in that crit. A large piece and a piece made up do about 12 smaller canvases. Now I knew the latter sucked, I did it because it was the assignment, But the I thought the former was fairly successful. No one liked it, or thought it had any value. I wasn't crushed or upset. I understood that they weren't personal attacks. I was just wondering how I went to wrong. But from that, the next pieces I did were far more successful as a result of the bad crit.

17. Did you feel that you needed to change a lot of elements in the piece to make is successful? Did you change it?
I did need to change a lot for it to b

e successful. I did not change it. It's a nice reminder of what not to do. Plus, I might paint over the canvases so I can re use them.
18. As a whole do you feel that your work is cohesive?
To some extent. I tend to keep dealing with figures. And I tend to keep dealing with women’s issues. But I tend to keep trying new techniques or materials which I think keeps my work from being very cohesive.

19. What elements do you feel aren't cohesive and how do you feel you could improve those elements?

I don't think improve is the right word. Change is the better word. I never feel a deep need to make sure my work is cohesive, or that it all needs to fit like a puzzle. My thoughts are very scattered. So one piece can take my down a road, and then the next will take me down a path miles away from the other.

20. In the future what do you wish to explore and how?
I don't know yet. I don't like planning things like that. I like letting things evolve naturally. As for how.....I generally like the experiment with new techniques and materials. So this probably how.