Good morning-
JW emailed a topic--transitions--that bears its own thread. I excerpt from the email here. Please respond in the comments below.
From the email:
Hey all!
Everyone's individual projects seem to be taking form, though...people (myself included) still have a long way to go...the space doesn't seem to flow from one project to another...have a fear the exhibit lacks cohesion and I personally feel that issue should be addressed as aggressively as the individual projects.
One idea was to have Denise's flowers and Jacquelyn's stem/leaves working together throughout the space to force transition somehow- rather than having each piece localized and separate from one another.
I would like it if we could take some time on Monday to address the transitional spaces, as well as what will be "dead spaces" once everones' individual projects are completed. It may just be that there is already a scheme in the mix and I'm simply unaware of it.
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3 comments:
J thank you for sharing your thoughts on this important subject.We definitely need to discuss this as a group; it is a crucial discussion of aesthetics from which we will learn a great deal, as we did from Wednesday's exchange.
I have a reading on transitions I forgot to distribute yesterday. The reading by Francois Jullian, concerns blandness in the landscapes of Yuan Dynasty painter Ni Tsan. Ni Tsan makes transitions between islands of activated space using arteries of empty space, called dragon veins. The empty space in his work allow the eye to wander to points of interest (the islands of activity, whether mountains or scholar's houses amidst trees)with increasing or decreasing focus. Western painting uses sharpness/blur, contrast and color recession (warm to cool/cool to warm) to create *compositional climax.* Thus the *brown sauce* in much Italian and French painting up until Impressionism serves as a unifer, a bubble of atmosphere that contains form: an equivalent to Chinese painting's emptiness.
Chinese painting offers empty space to those experiencing the work to *fill it* for themselves with their imaginations, mental meanderings, etc. If the images, concepts or connections become too literal there's no space to free-associate. There is the possibility of too much as well as too little.
This issue may form a crux in much contemporary art practice AND exhibiiton protocol--and why minimalism and abstraction are often favored over more overt modes of representation. You tell me.
What remains to be seen--and must be seen by Tuesday if we want to open by Thursday--is the finished work and its inter-relationship.
What do others think?
J is right: "the issue should be addressed as aggressively as the individual projects".
Now, post-reception, would be a great time to take up this issue.
If only we could make this show a six-month project with regularly intervaled receptions! to keep expanding our ideas.
But, why not do so here, if inclined?
I thought of Jonothan's leaves and Tim's tulip steps invading the floor and Karen's bridge: so people would be really flummoxed as where to step, and would step into the floor (metaphoric water) between the leaves...I could also see the leaves encroaching everywhere, growing over the walls, similar to how Jillian envisioned it...
What are ideas you have, to push the installation further, to push the experience of each site?!
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