It is made of plaster, yarn, and acrylic paint, and was produced over the course of six months.
How people actually DO write artist’s statements:
*opens a thesaurus*
*picks 20 random impressive sounding words*
THIS WORK EXPLORES THE DECONSTRUCTION AND OSSIFICATION OF THE MOTIVATION OF THE INTRINSIC ANTIPATHY REFLECTING THE INNER MELANCHOLY OF APPROACHING MECHANIZATION AND THE RESULTANT CONFLICTS BETWEEN THE SELF AND THE FURTHER EXPLORATION OF THEMES OF LONELINESS AND DEFINISTRATORY SELF-IMMOLATION AND ALSO IT’S MADE OUT OF USED TISSUES TO SYMBOLIZE PAIN AND THE FALLIABILITY OF MAN.
non-artist’s confession: I don’t really get artist’s statements — isn’t the ART the statement?
Ooh! I LOVE talking about art with non-artists! That’s a lot of what I want to do with my own art!
Yeah, you’re right, an artwork should stand on it’s own, and ideally it’s an individual experience for each person. There is no ‘right’ interpretation, just your interpretation, and that’s how it should be.
But, and I think this is especially true for people interacting with more modern or conceptual art, a lot of time people don’t ‘get’ the art, or want to know the context or the artist’s intentions.
Maybe you go to a museum and see a life-sized model of a Korean house, sewn out of translucent silk.
(This is Seoul Home, by Do Ho Suh, image is from here)
I mean, sure it’s cool, but why?
An artist’s statement is an opportunity to tell you that Do Ho Suh is an immigrant who was suffering from homesickness, that this work is an exact replica of his parent’s house in Korea, and that it can fold neatly into a suitcase.
Put a notch in your acknowledgements that we live in a culture that prioritizes a more honest depiction of the actual diversity of our society than that of decades past belt.Â The Flash, the CW’s Arrow spinoff featuring the titular DC character is racebending its female lead and love interest in order to create a more diverse cast lineup.
When someone asks adult male fans to be respectful of the fact that a show is primarily meant for the entertainment and enrichment of young girls and the response is, “No, but you don’t understand, this show is actually high quality,” that’s… pretty revealing.
i cant believe a large group of adult men rigged a survey to vote for the best animated kids show of 2013 by creating scripts that automatically vote for my little pony a million times i feel like were living in a bizarro alternate universe of the real true timeline where bronies are fairytale creatures that only exist in legends
The Machine didn’t call until it was basically too late to save Carter. Is that going to be addressed or was it simply impossible for it to know until it was too late?
Jonathan Nolan: We wanted to play with the idea of the fallibility of the machine. It is sort of all-seeing, but there are wrinkles in there.
[The phone ringing] was a cry, almost like an animal. Every season we’ve tried to anthropomorphize the Machine a little more. In that moment, Carter and Reese are sort of swept away in a moment of personal connectedness. Reese’s problem is that every time he lets his guard down, things like this happen, and the same thing with Carter. So in that moment, the phone rings and you see it as kind of the bleat of an animal just trying to get them to turn around. [It was trying] alerting them to the fact that Reese’s number was still up, since Simmons took a shot at Reese first and then went after Carter.
Or, “the negative treatment of Slytherin House in canon.”
To me, “the Problem of Slytherin” (which I’ve nicknamed based on the infamous “Problem of Susan” from CS Lewis’s Narnia) is one of the major flaws of the series. Not as bad as my issues with DH, certainly, but something that detracts from the series as a whole.
Again, this is a somewhat unpopular opinion: there are plenty of people who feel that the portrayal of Slytherin was fine as-is, many who argue that it was inevitable because of the books’ first-person Gryffindor-centric POV, and some people who believe that an ambition-oriented House is more likely to produce evil people than one that values intelligence/wit, hard work/patience, or bravery/fame, particularly given Salazar Slytherin’s penchant for conflating greatness and blood purity, making a House that seems pre-made for prejudice.*
*I think that Slytherin’s orientation on blood-purity could have been written as something that was a rational response to his historical period, but I don’t think that JKR intends it to be viewed that way. If mass persecutions were occurring and lots of wizards were dying, then you could make a case for hiding/not accepting Muggle-borns - but again, this is something that’s more grounds for an AU fic based on what we know of Rowling’s Wizarding history, in which witch-hunting/problems didn’t get to be significant until three to four centuries after the Founders’ era, and in which the dangers weren’t that significant in any case. (Yes, that’s no consolation to Nearly Headless Nick, but we’re led to believe that persecutions weren’t that terrible a danger in the great scheme of things. In canon, Salazar Slytherin is not Wizarding Magneto, who believes that wizards need to create a wholly separate society of their own because the real world has given them concrete evidence they’ll never be accepted otherwise - although, again, I do believe that Salazar Slytherin-as-Wizard-Magneto, a man with some valid points but extreme views and methods, could successfully exist in fanfic.)
But, even given the idea that Slytherin held an indefensible, reactionary opinion for his own time, I believe that the books could have - and should have - written Slytherin differently. Because, as it is, there is a huge problem with the general portrayal of Slytherin characters, and, moreover, with the idea of House Unity and that entire theme, which became so important in OotP.
“I am tired, not of arguing in favour of equality, diversity and tolerance, but of having to explain, over and over and over again, why such arguments are still necessary, only to have my evidence casually dismissed by someone too oblivious to realise that their dismissal of the problem is itself a textbook example of the fucking problem. I am tired of being mocked by hypocrites who think that a single lazy counterexample is sufficient to debunk the fifteen detailed examples they demanded I produce before they’d even accept my point as a hypothetical, let alone valid, argument. I am tired of assholes who think that playing Devil’s Advocate about an issue alien to their experience but of deep personal significance to their interlocutor makes them both intellectually superior and more rationally objective on the specious basis that being dispassionate is the same as being right (because if they can stay calm while savagely kicking your open wound, then clearly, you have no excuse for screaming).”—