Mixed Media
"Ruminate" |
Playing Cards, Spray Paint
|
Exhibition Text
"Ruminate" is an assemblage inspired by the conceptual art of Marcel Duchamp and Robert Rauschenberg. Through a lack of aesthetics, the conceptual qualities of the piece are emphasized. I aimed to produce a piece that encourages the audience to interact with the art by provoking thought.
Process
Brainstorming |
Planning |
1. Write down potential ideas, artistic inspirations, and mediums you can incorporate into your piece.
|
2. Create two to three planning sketches. Incorporate concepts from your brainstorming. Take into consideration that the piece must meaningfully incorporate materials to enhance the overall meaning and aesthetic.
|
Spray Paint Preparation
|
3. Divide the deck of cards into groups of five or six. Lay each pile down on a flat surface with the face of each card facing down. Ensure that the cards are spaced evenly and the top and bottom edges are parallel. Connect the cards together with small pieces of tape. Flip over the cards and ensure that the surfaces are free of debris.
|
Spray Painting
4. After the cards are connected and clean, place them face up on pieces of cardboard or styrofoam. Vigorously shake a can of white spray paint for one minute, then apply an even layer of spray paint on each grouping of cards with a horizontal movement of the can. Hold the can ten to twelve inches above the cards when applying the spray paint. Using a similar technique, paint the card box. Allow the first coat to settle for an hour. Apply another coat of spray paint to the cards and turn over the card box and paint it as well. Allow the final coat of paint to dry for twenty four hours.
|
|
Card Clean Up
|
5. After the spray paint has dried, separate the cards by removing the tape. The cards will have residual paint on the back and edges. Start by putting the cards in uniform pile; use a sharp blade to scrape the edges of the cards. Shuffle the deck to remove paint shavings stuck in between the cards. Once the edges are clean, remove the excess paint on the backs of the cards. Loosen the paint on each individual by rubbing alcohol on the paint with a cotton ball. Gently scrape the paint off with a sharp blade.
|
Experimentation
One of my initial ideas was to form a Torii gate with cards and allow it to fall from the deck box. I decided not to move forward with this concept because it lacks meaning to me and it looks odd due to the flatness of the cards. Essentially, the cards lack the necessary dimension to effectively portray the gate.
The idea I will be moving forward with is more simplistic and natural. The cards will simply fall out of the box randomly to better emulate a realistic card position.
Because this piece is highly conceptual, I have gained a better understanding of the importance of subtle details such as the back design of the cards. Each of these three designs could've changed the meaning of the piece to some extent. As my intended meaning is for the audience to think about the meaning of the piece, I chose the more common design. This decision allows my meaning to stay true to conceptual art by limiting unnecessary imagery and emotion.
Initially, "Ruminate" was supposed to be a piece where all cards in a deck were glued together in an attempt to contradict the piece with the medium in which it was made. I experimented with gluing the cards together using both super glue and hot glue. The glue warped the cards and left residue on various parts of the piece. I attempted to make the falling of the cards seem natural by allowing the cards to freely fall out of the deck. I thought that this would aid in my emulation of conceptual art. However, I failed to consider that my innate pursuit of aesthetics would be detrimental as it resulted in my rearranging of the cards to include elements and principles of design. I realize now that there is a clear sense of repetition and line in the experimental piece that contradicts my desire to focus on the conceptual side of art. Through experimentation, I've started to realize how difficult it is to create a piece that does not rely on its aesthetic qualities. To reject beauty in exchange for provocation of thought is an extreme challenge, a challenge that this experimental design could not overcome.
In Class Critique
During the critique, I received meaningful feedback from my peers that will undoubtedly improve my mixed media piece. Essentially, my piece is a deck of cards falling from a deck box. However, the cards are fixed together and bonded with the box so that they are one-inseparable unit. I desired to challenge the human perception of reality and to make the viewer deeply consider the implications of my piece. Given that a standard deck of 52 cards hanging precariously from a box would generally scatter about when lifted, my piece is a contradiction to the human expectation. I wanted to play with the idea of art being a medium for provoking thought. Prior to this piece, I was obsessed with making art based solely on aesthetics. But with this mixed media piece, I wanted to create something so utterly simple yet confusing. I have been working under the guidance of a quote by Jawaharlal Nehru, “Life is like a game of cards. The hand you are dealt is determinism; the way you play it is free will.” I and many others have been told that life is like a deck or a game of cards. Cards are generally flexible and each individual card is part of a larger deck. But when these innate qualities are contradicted as they are in my piece, what does it say about life, if it says anything at all. I drew inspiration from Conceptual artists like Marcel Duchamp and On Kawara. Duchamp’s readymade art challenges the audience in a provocative and beautiful way that for the most part is effortless. I don’t want to force the piece to be anything more than it is. I want the meaning to simply be to find a meaning for it. Prior to the critique, I struggled to start creating because I was held back by my fear of the piece not having a proper meaning. But after discussing with my peers, they reminded me that meaning isn’t necessarily always a definition; it can simply be to make someone think. And this is exactly what the meaning of my piece is. I realize that the designs on the backs of the cards will also have an affect on the meaning of the piece. I currently have three decks of cards: one with a standard card design, an old tourist deck with a picture of a beach, and one with Rodin’s “The Thinker.” I am experimenting with the impact each has on my piece as a whole. I am starting to understand the subtleties that greatly impact conceptual art. When an artist no longer relies on a piece’s aesthetic qualities and instead depends solely on ideas, minute details have enormous consequences.
Artistic Inspiration
The piece "Ruminate" draws inspiration from the work of Marcel Duchamp and Robert Rauschenberg's "Erased de Kooning Drawing." Marcel Duchamp was a revolutionary artist in both Dadaism and Conceptual art. His readymades challenged the purpose of art and the artist's role in the creation of art. Duchamp's work was built on a foundation of ideas rather than aesthetics; he often questioned with his work what art is. For example, with his readymade "Fountain" he challenged traditional notions of what art could be. I emulated this desire to question art with the piece "Ruminate." I drew from Duchamp's focus on concept over aesthetic by using readymade materials and portraying them in a manner that draws attention to the idea rather than the beauty of the piece. My goal, much like Duchamp, was to ask the audience a question. As such, "Ruminate" possesses no concrete meaning. I created the piece much like Robert Rauschenberg created his work, without a definite reason. Rauschenberg wanted the audience to interact with his work by allowing them to determine its meaning and value. Like Duchamp, he questioned art, what it could be, and what the artist's relationship with art was. This can be seen in his piece, "Erased de Kooning Drawing" where, like the title suggests, he erased a drawing given to him by Willem de Kooning. Without the small inscription on the frame, the piece would exist as blank paper. Yet it becomes powerful when the audience becomes aware of what once filled the negative space. I aimed to capture a similar sense of power by eliminating the defining images on a deck of cards. By leaving only the back print of the cards, I left a suggestion of what once was. In this way, my piece emulates Rauschenberg's "Erased de Kooning Drawing" power of suggestion though negative space.
Reflection
Through the completion of this piece, I have come to understand more about mixed media, conceptual art, and the purpose of art. Prior to this piece, I was unfamiliar with readymade and conceptual art. Upon analyzing the work of conceptual artists like Marcel Duchamp and Robert Rauschenberg, I've started to notice the basis of art is rooted in ideas, not exclusively aesthetics. My entire perception of art is going through a small metamorphosis. I never considered that art could simply exist to challenge itself. Nor did I consider that art was an interactive experience through which the audience participates by analyzing. In other words, I didn't realize that the audience gives art meaning or value. I've always considered art to be a closed relationship between the artist and the artwork, but now I'm starting to change my mind. The audience is as important to a piece of art as the artist is. And in regards to what art is, I agree with Rauschenberg who said that art cannot be created. Art is something we as people find and share with the world. We don't manufacture aesthetics, we manufacture ideas that accompany the art we find. Art starts dialogue with people's surroundings and creates introspective conversation with oneself. This is a key component of conceptual art that I will incorporate into all of my work from now on. As a conceptual piece, "Ruminate" succeeds in focusing the attention of the viewer on the idea rather than the aesthetics. As such, it successfully emulates the work of Marcel Duchamp's work. Considering that the piece encourages and demands the audience to give the piece meaning and that it works with its imperfections, it also successfully emulates Robert Rauschenberg's "Erased de Kooning Drawing." A key element of this emulation is the inclusion of power through suggestion of negative space.
Meaning
"Ruminate" is the formation of a question in which the audience possesses the answer. The negative space on the cards is a suggestion of what once was suits and colors. The unity of the cards with similar front and back faces contradicts the medium as playing cards are unique with distinguishing characteristics. Guided by the quote by Jawaharlal Nehru, “Life is like a game of cards. The hand you are dealt is determinism; the way you play it is free will," the piece asks a simple question about its connection to life. But on a simpler level, without the guidance of any quote, "Ruminate" asks the audience to give it a meaning. In other words, "Ruminate" forms a relationship between itself, the audience, and their surroundings where it gives the reader an idea and expects interpretation in exchange. I believe in Robert Rauschenberg's belief that art is interactive; the audience is a part of the piece because it is the audience who determines its value and meaning. I did not create "Ruminate" with a definite answer nor did I create this piece to define it myself. I created "Ruminate" because I wanted the audience to think and question their perception of art. Because my piece is conceptual and does not rely on aesthetics, it is solely about the idea presented in the piece. If anything, I wanted to challenge my own perception of art. Prior to this piece, I created art based on aesthetics that lacked any real conceptual ideas. To ensure that "Ruminate" was different, I had to integrate "chance" as a artistic technique. If I were to control every aspect of the piece, it would cease to be about the idea and instead rely on aesthetics. Therefore, I must admit to myself and the audience that the piece has flaws. For example, during the painting phase, uneven coats were applied and the card box ripped. But instead of covering up these flaws, I allowed them to propel my piece forward. I believe we focus too much on "beauty" in art that we forget the ideas upon which art is founded. Art is not something we produce, it's something we find. And if that's the case, we must stop seeking perfection. I also believe that we don't think enough anymore. In world where unlimited amounts of data are accessible instantaneously, we've forgotten how to consider things for ourselves. That's why for this piece, I created it without a concrete definition. If I have to tell the audience what my piece means, haven't I failed as an artist (at least as a conceptual artist)? The meaning of the piece must be determined by the audience. Because my part is done. My part was finding the art and sharing it. It's time for me to step back and let the audience give "Ruminate" a meaning. I'd liken it to a parent watching a child grow; no matter what I tell the world they are, the world will always think differently, as they should.
Connection to ACT
1. Clearly explain how you are able to identify the cause-effect relationships between your inspiration and its effect upon your artwork.
I am able to identify the cause-effect relationship between my inspiration and its effect upon my artwork by analyzing the emphasis on idea rather than aesthetics. As conceptual art highlighted ideas in a similar manner, it is evident that my piece draws inspiration from Conceptual art.
2. What is the overall approach of the author has regarding the topic of your inspiration.
The author's point of view regarding Marcel Duchamp is that he was a revolutionary artist who challenged the traditional perceptions of art by focusing on ideas rather than aesthetics. In regards to Robert Rauschenberg, the author's point of view is that he incorporated "chance" into his pieces to remove aesthetics from his work in order to accentuate ideas.
3. What kind of generalizations and conclusions have you discovered about people, ideas, cultures, etc. while you researched your inspiration?
While researching, I've come to the conclusion that society does not completely understand art yet as we are still pushing its boundaries to see how far we can go before we reach a limit as to what is considered art.
4. What was the central idea or theme around your inspirational research?
The central theme of my inspirational research was ideas as a foundation for art.
5. What kind of inferences did you make while reading your research?
While reading my research, I inferred that Marcel Duchamp produced readymades to question creativity and the role of the artists in the art making process.
Sources
Websites
San Francisco Museum of Modern Art. "Robert Rauschenberg, Erased de Kooning Drawing, 1953." SFMOMA. San Francisco Museum of Modern Art, 2017. Web. 24 Mar. 2017. <https://www.sfmoma.org/artwork/98.298>.
Brucker, Julia. "Robert Rauschenberg Artist Overview and Analysis." The Art Story. The Art Story Contributors, 2017. Web. 24 Mar. 2017. <http://www.theartstory.org/artist-rauschenberg-robert.htm>.
The Art Story Contributors. "Marcel Duchamp Artist Overview and Analysis." The Art Story. The Art Story Contributors, 2017. Web. 24 Mar. 2017. <http://www.theartstory.org/artist-duchamp-marcel.htm>.
Wolf, Justin . "Conceptual Art Movement Overview and Analysis." The Art Story. The Art Story Contributors , 2017. Web. 24 Mar. 2017.
Books
Rauschenberg, Robert, and Calvin Tomkins. Off the Wall: a Portrait of Robert Rauschenberg. New York, NY: Picador, 2005. Print.
Moure, Gloria, and Marcel Duchamp. Marcel Duchamp: works, writings, interviews. Barcelona: ED. Polígrafa, 2009. Print.
Godfrey, Tony. Conceptual art. London: Phaidon, 2011. Print.
San Francisco Museum of Modern Art. "Robert Rauschenberg, Erased de Kooning Drawing, 1953." SFMOMA. San Francisco Museum of Modern Art, 2017. Web. 24 Mar. 2017. <https://www.sfmoma.org/artwork/98.298>.
Brucker, Julia. "Robert Rauschenberg Artist Overview and Analysis." The Art Story. The Art Story Contributors, 2017. Web. 24 Mar. 2017. <http://www.theartstory.org/artist-rauschenberg-robert.htm>.
The Art Story Contributors. "Marcel Duchamp Artist Overview and Analysis." The Art Story. The Art Story Contributors, 2017. Web. 24 Mar. 2017. <http://www.theartstory.org/artist-duchamp-marcel.htm>.
Wolf, Justin . "Conceptual Art Movement Overview and Analysis." The Art Story. The Art Story Contributors , 2017. Web. 24 Mar. 2017.
Books
Rauschenberg, Robert, and Calvin Tomkins. Off the Wall: a Portrait of Robert Rauschenberg. New York, NY: Picador, 2005. Print.
Moure, Gloria, and Marcel Duchamp. Marcel Duchamp: works, writings, interviews. Barcelona: ED. Polígrafa, 2009. Print.
Godfrey, Tony. Conceptual art. London: Phaidon, 2011. Print.