Questions again
This week we are reading and discussing Tony Oursler, Mariko Mori, and Gregory Green.
1, Tony Oursler is invested in his choice of presenting video on blank canvases of dolls or even flowers. His investment of presenting faces is based on his theory that people are most attracted to the face. He invests in his own work that he will agitate and provoke distress, but still make the stress tolerable because it is through video, which he views as a netural space. He invests his money financially into his works by using remote control cameras and microphones. Mariko Mori invests her time and effort into her message that technology can foster spiritual enlightenment. She invests in two studios in Tokyo and New York. Mori invests a lot financially into her work, but also has the ability to do so because of her father. Her work tends to be on a larger scale because she does have the freedom to invest more money into her work. Gregory Green invests in stretching his imagination by creating how to’s for making bombs as his form of anarchy. Green’s investment into anarchy is the whole concept of his works. He specialized in bringing to the public letter bombs, Molotv cocktails, bombs hidden within the Bible, bombs within the Quran, and pipe bombs. His investment into making these bombs shows how easily it is for anyone to make and create them.
2.Well, first off our book is “Creative Options for Contemporary Art” so it sort of makes sense for artists that we have discussed to use contemporary media in their work. Also, as technology advances so does art and with it so do the means of producing and expressing it. As new forms of media come out artists will try and test them and possibly use them in their work. The use of contemporary media such as videos and projectors have allowed artists to completely surround their viewers with their art and help complete their own visions. By being able to fully share their own vision or how they see things it allows the artists to be able to convey this to their audiences.
