An Approach to Art Making #2

An Approach to Art Making #2

By, Afua Serwah Osei-Bonsu

Art could be divided into groups such as:  supply, craft and manufacturing artist.

Supply relates to those things derivative of materials and supplies that could be purchased, for example, from an art supply store.  A good example of a supply oriented art work may be one that incorporates nibs, brushes and ink like Oriental Paintings or Bonsai garden paintings with fan brushes or outdoor art stations.

Craft may be things oriented to craftsmanship, from an artisan or may even be home spun. Examples may be things like burning into leathers, making candles, or a bricklayers training in tile, marble and terrazzo and making monuments or perhaps building engraved picture frames, cake decoration, or making clay monsters, or a holiday decoration or a cut out turkey made of paper or maybe some type of whittler.

A Manufacturing Artist may make sophisticated art works in a studio or factory based environment inclusive of sculptural works or electronic works or even professional frescoes via fresco printers and architectural works or installations or programmatic/technological works, or even the museum itself and mostly extremely fine art and almost all high art.

Culture is another distinct road in approaches to art making.  Dedication to culture may inspire one to develop a culture or work on a subculture.  An artist may become concerned with cultural branding or contributing an aspect of art or art practice that develops their communities culture.  A cultural offering may set the tone for a business or enterprise or an organization, branding it and guiding its organizational epistemology or setting the tone for employees.

High art practice is often engaged in a curatorial based art making where a group of artists may utilize the same photo to curate a group exhibition.  The photos are sometimes based on iconic imagery or indicative of an era.  Groups of artists and curators may form a temporary or permanent collective group.

What a scholar might find really riveting, that is perhaps buried now is the initial use or heading of “The Arts” that was inclusive of science etc.  In the early days of education there were three subject’s religion, the arts and medicine.

Use of acronyms in art can be a way of “big talking” -small or formulaic. Acronyms like “HISS” that means “highlight, spotlight and showcase” become important or acronyms like “Quepine” that means “Question, Proverb and News” can be used for art making.

Black Magic is also indicative of a kind of wielding or wizardry or technology use or logic. Black magic use can be something like programming things with thoughts by thinking over them, or digging holes or making connections between objects or talking to things or taking readings or working with numbers like 81 as Magic and Flight where you see in the eight a Spider and the one, a wing.  Black Magic brings as James Baldwin coined it, “force vitale,” to art among other things much like the Chinese technique of calling “chi” or soul or “charming,” or animating like placing eyes on something.

One may draw a right angle with a diagonal cross thread through to create an art technique using perhaps era or time.Its possible to grid or work on a time based series using a right angle quick method.

“Era and Charm,” incorporates a black magic technique and has been very successful for making things like teapots.

Another interesting technique used by artists is “what does that make you think of?”  This technique has to do with when you ask continuous questions of yourself or someone else leading to a trail of words away from a root word.  For example if I said I have an apple, what does that make you think of?  You said red, and then I said what does red make you think of?  You said blood etc. and on and on and connected the trail back to apple to ascertain some unique, hidden, connected or passive meaning.  With this dialog one would begin to build their art works from a kind of “art game playing.”

Another breakthrough in technology that has gotten into art is “the feed.”  The feed has to do with when you send through a host, an agent or program that could be music or an emotion etc. Feeds or programs are particularly interesting in textile printing where a print may be made distinct when it is impacted by a program and made for example exciting or sensual, animated or dotted.

Perhaps a breakthrough in approaches to art making is the “eclectic gallery district,”or the placement of art or the combining of supply, craft, manufacturing art etc.  All the usual pomp of art but inclusive of perhaps a “home sweet home sign maker” or portrait district or maker galleries or antiques or fiber arts or a variety of textile galleries-eclecticism in art may also be a mainstay. Eclecticism in art may create greater ability of “treasure trove,” and individuality within the home or arts final destination.

Really ultimately what makes or can make a really good fine artist is lots and lots of programs, lots and lots of technology. Artech can be many things including sound technologies or opera voice pieces, or holograph technology or film modulation technology etc.

 

 

 

 

 

 

 

 

 

The Big Designers #1

The Big Designers

By, Afua Osei-Bonsu

The big designers in life very well may be three things 1)necessity, 2)war and 3)just because we could.

“Necessity” it has been said was utilized by Chinese manufacturers and marked the focus of early eras in design and engineering. Underneath the helm of “necessity” most of design falls out.

“War” is another design pioneer that inspires a lot of technologies and teachings.

The third big designer is “just because we could,” that has to do with things like dinosaurs that apparently may have been whimsy of early scientists and according to one scientist, dinosaurs may still be existence on some far off planets.

Still other things in life become big designers such as those things that shape us and inspire change. Perhaps big designers  4) are the “shapers,” like policy, taxation systems, popular culture,  politics, poverty, education etc.

Moving on to the current century with most of necessity completely in existence, a new big designer may be #5) “Secondary Concept” where you make a dress from for example  a sugar bowl, which becomes the secondary design when you look in a former design-in and around it and using deconstruction.

Another big designer is the constant drive to evolve, #6 is evolution.  Evolution inspired most of innovation.  The notch and notch way that one inches upwards using research and development creates innovation formulas and new propelling designs.  With every technology it is as if, we can now achieve this xyz therefore the following must also be possible, and the designer takes a step, then still another step connecting all the dots.  If one can fly, they can place the star on top of the giant tree, if one can vapor they may perform a heart transplant without incision.

Of course we design and redesign necessity in a constant.