12. After they are crafted, Hernando sends the pieces to her relatives in Colorado, who assembled the piece. I think it’s beautiful how she uses such a large network of meaningful individuals in her life. Uses her ecosystem to create life.
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11. Also noted in her plaque, Hernando gathered numerous pieces of diaphanous fabric embroidered by cloistered Carmelite nuns in Buenos Aires, Argentina. Hernando sent sketches of patterns that the nuns used to create these works. So much detail, fitting for the subject.
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10. Hernando also notes the generative power and beauty of flowers and nature. It is so incredible that all of these qualities can be true at once of something created and sculpted by nature.
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9. Amidst this symmetry, every organisms has its oddities and uniqueness, especially humans. But even in “Florescence”, every flower has its own quirks, making every one special.
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8. And, I think “Florescence” is a beautiful representation of that symmetry. The numerous colors and shapes all line up to create near perfect symmetry across the piece, which I can imagine was very difficult to produce.
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7. One thing Hernando notes in her plaque is her fascination of the symmetry in the natural world, to which I couldn’t agree more. The fact that plants and animals, created by evolution and natural selection, can have complete symmetry is unbelievable.
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6. Our final day at the MCA sees me posted by Ana Maria Hernando’s “Florescence” and “Los Aliados”. These are two grand, colorful pieces appreciating the natural beauty of Earth’s creations, which I felt fitting on this beautiful Earth Day.
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Prompt 12:
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...
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I agree zank-el I think it is an incredibly unique experience, makes me feel like a contemporary pillar. #ConArtInSitu
#ConArtInSitu, facts
5. How can you give your ideas shape?
I ground all of my ideas in the physical characteristics of the artwork I am studying. Once grounded, I expand on my ideas to create a sense of deeper meaning. This creates ebbs and flows in the shape of my ideas, making them unique.
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4. In what ways could you own your subjectivity?
I think it is very important to clarify all art-writing as your own opinion. Art is incredibly subjective, especially contemporary art, and the creator holds the right to the meaning of their art, so keep it opinionated.
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3. What are the conventions for writing about art for non-academic publics?
I have found that writing about art just makes a museum experience more enjoyable. I think more deeply about the art, challenge my creative engine, and have a saved medium from my experience.
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2. How do we move from naïve to novice and beyond?
I think we move beyond naïve by spending more time with art in order to truly understand it. By spending an hour with the garden, I got to know every little detail of it, expanding my understanding big time.
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1. Week 4:
How do we start?
I immediately start taking pictures of art, writing down how it makes me feel off rip. I like to then formulate my initial feelings into more rhetorical prose that can help readers understand and share that feeling.
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Love this take. Lee is so genius at merging the ideas of America and Korea. #ConArtInSitu
This is such a great sentiment. I love how I was able to join you for our FSEM, our ASEM, and everything in between. #ConArtInSitu
Very cool Luke thank you for sharing. I love the skylight above it. #ConArtInSitu
23. Finally, Williams addresses the importance of knowing your audience when writing about art. There is a vast difference between academic writing and general public writing.
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22. I was fascinated to see that evidence is an important piece of contemporary art writing, just like any other genre of writing. You must back your claims in order to avoid empty "artspeak"
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21. Reading further into Williams' work on how to write about contemporary art, really enjoying it. One of the core concepts is differentiating explaining and evaluating art. I think his point is very interesting that most artists jump to evaluating without properly explaining before.
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20. Look at the glow emanating from the main room. It demands your curiosity, makes you feel remiss if you didn’t at least give it a peek.
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19. I also love how volumous it is, it really exaggerates the lush, boastful beauty of the veil.
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18. I adore the lighting in here. So pleasant on the eyes, I just look at it for hours. Such bright vibrant colors usually do the contrary, not in this case.
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17. I wanted to reflect on the difference reading the plaque can make. Before reading, I just saw a wall of dumplings, maybe I could’ve made some conclusions about the diverse shapes and colors, but the backstory on how it was crafted really changed my perspective for the better.
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16. From the grand scheme the diaspora reminds me of the iSpy book series.
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15. I found this collection fascinating too. Not the most beautiful or perfectionist dumplings, one is even broken open and missing its filling. Alas, these represent the beauty in our imperfection and struggle. How our differences are welcomed within our communities.
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14. Sammy ends her dialogue noting how dumplings are a theme throughout her whole collection: a carefully packed vessel containing a rich filling with stories of family, community, migration, and history.
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13. I liked this collection of dumplings. Such a unique combination of shapes and surfaces. It represents the diversity that runs throughout our communities.
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