Browsing by Subject "Installation art"

Now showing 1 - 3 of 3
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    Borderline
    (2013-05) Cortez, Susana; Hull, Greg
    My work is a manifestation of emotions concerning personal, social, and political issues that influence the way I perceive life. I manifest my emotions towards these issues in a spontaneous way, through the exploration and interaction with different mediums. I often use temporary materials such as dirt, paper, plaster, and clay slip. These materials assist me in imprinting the work of my hands, the struggle, and the trace of my creative process.
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    Perfect Imperfection
    (2014-05) Conrady, Denise; Robinson, Cory
    In this thesis, I will describe my journey of coming into a Master of Fine Arts Furniture Design program from an Interior Design and Architecture background and how I found my identity as an artist. I will present the installation Perfect Imperfections: a space that I created with the intention of allowing people to interact with alluring, sensuous, familiar objects; to have fun, and to experience joy with playful, childlike, imagination. I suggest that creating spaces and objects that elicit positive emotional responses are beneficial to health and well-being. I propose that this installation situates itself somewhere between the domains of Art and Design in a realm that could be called DesignArt1. I believe that I have found a place where I can make a difference, that, like Carl Auböck, good design can heal the world, (Kois 10) and that designers have a responsibility to do good (design).
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    Searching for the Sublime
    (2017) Sneath, Jake; Petranek, Stefan; Riede, Danielle; Kinsmann, Robert; Martinkus, Benjamin
    Photography is dead and that’s okay. Photography has always had a rather anxious relationship to the world due to its connection to both the commercial and fine art worlds; the latter with greater suspect and criticism, as suggested in Matthew Thompson’s “The Object Lost and Found." The digital technology revolution has permanently altered photography from its analogue past. No longer do professionals need to arduously fine tune the physical print for accurate color balance, optimal sharpness, etc.; the digital camera has finally, and unequivocally, perfected the image and made photography more accessible than ever before. A 2015 study by the Pew Research Group estimates that 64% of all adult Americans own a smartphone with the ability to take photos and videos; an estimated 159,670,545 adult Americans based on July 2016 Census Bureau data. Recent social media startup, Instagram, has a reported daily user base of 300 million global users as of November 2016. The social media app alone is responsible for an 4estimated 80 million photos shared per day. A large degree of the work posted to sites like Instagram are representational in nature; depicting everyday situations. A recent report estimates that 1.2 trillion photos will be taken worldwide in 2017; a number that will continue to grow by 9% annually. Charlotte Cotton describes in her essay, “Photography is Magic” how recent changes in photography have provided an opportunity for artists to make work that reference both photography’s analogue past as well as its current place in contemporary culture. My work responds to the engulfment of representational imagery by creating opportunities to immerse the viewer in repeated sensations of beauty and the sublime. In this document, I will cover the evolution of my work from abstract, camera-based photographs through analogue, camera-less photographic processes, to installation work that invites viewers to contemplate and experience the awesome beauty of light directly.