The project: to create a vinyl cutting that will be situated somewhere around Emily Carr or Granville Island.
As I am approaching this project my main considerations surrounding the piece are the situational context and the meaning of vinyl cutting as a medium. Vinyl cutting was created as an aid in sign making; the use of vinyl graphics as an art form thus creates a dialog surrounding the use of signs and semiotics (the study of signs). The conscious choice of a medium such as this becomes an integral part of the work, as it is different from traditional mediums such as painting, drawing, and sculpture, etc. The decision to elevate the use of vinyl graphics into art should be considered as an unavoidable statement within the piece.
Also inexorably important to the meaning of the piece is the location. The decision to remove an ‘art piece’ from a conventional setting such as a gallery lends itself to become another statement about the work. Furthermore, this leads us to question what is to be considered art. In an age where we are both consciously and subconsciously bombarded with advertisements and signs, why should we consider a vinyl graphic, which was historically created to facilitate and assist these invasions, to be worthy of elevation to ‘art’? Also, how can an artist go successfully about either challenging and overcoming these stereotypes, or working within them?
I think that the medium and location are both integrally important in this project, and cannot be disregarded when developing the theme/idea. This is where I am at with this project thus far.
I am much happier with the finished product. On to Urban Intervention.
After a shaky beginning to my morning (a 5am alarm for me to finish reading/responding to the article featured below), my day actually turned out to be quite good. The sun was shining, the crit we had in DIVA 100 was interesting and went well, and CS and I bought yummy chocolates on our break at the market. Oh, and my roommate/best friend and I decided to try our hand out at busking this evening and walked away thirty bucks richer. I finally feel as though I am part of the city?
an aside: must remember to make appointment at the DOC center for Friday morning.
Erkki Huhtamo’s “Trouble at the Interface, or the Identity Crisis of Interactive Art,” provides a brief overview of the history of interactive art. Huhatamo states that this medium is critical of the human-computer relationship, and that it is the combination of subject matter and the medium of interactive art itself which are imperative to its meaning. Through examples given, Huhatamo describes the early works of interactive art as a conscious blending of these two aspects. The parallels drawn between these early works were that “they were publicly exhibited as installations, used computer technology, images and sounds, and were supposed to be ‘activated’ by the user – they required a physical effort from the part of the visitor to function and to reveal their meanings” (Huhtamo, Erkki. “Trouble at the Interface, or the Identity Crisis of Interactive Art.” Framework, The Finnish Art Review. Emily Carr University. Vancouver B.C. 2/2004 ). The aspect of interaction challenges the historical practice of gazing and analyzing a piece of art; user interaction is an imperative support to the subject matter in the examples given by Huhatamo of early interactive art.
The discussion of Ben Rubin’s and Mark Hansen’s Listening Post requires us to question the importance of physical user interactivity which changes and forms a work as opposed to passive interactivity. Huhatamo states that compared to “the ‘interactive classics’, there is nothing interactive in Listening Post” (Huhtamo, Erkki. “Trouble at the Interface, or the Identity Crisis of Interactive Art.” Framework, The Finnish Art Review. Emily Carr University. Vancouver B.C. 2/2004 ). However, he then goes on to describe the earlier interactive works that did not pertain to computer technology. Because the “‘roots’ of interactive media and interactive art go back far beyond the era of digital technology, [i]t is quite possible to conceive complex user-actived interactive artworks that don’t require computers at all” (Huhtamo, Erkki. “Trouble at the Interface, or the Identity Crisis of Interactive Art.” Framework, The Finnish Art Review. Emily Carr University. Vancouver B.C. 2/2004 ).
The conclusion that Huhatamo reaches in this article is that the definition of interactive art is at a crossroads; he believes that the current ideas around it cause “more confusion than clarity” and that perhaps sub categories are necessary for pieces such as Listening Post. This article is successful in providing an idea of interactive art, and also with providing us with an important discussion that is current within the medium.
wordpress = way harder than blogger.