Crystal
Willis
ART
350S
Lecture
Review
Due 06/05/14
Emilie Clark, Art Bite, Nevada Museum of Art
After viewing Emilie
Clark’s Sweet Corruptions exhibition and listening to her talk on 7
February 2014, what resonated with me most was how unified her work was,
regardless of the diverse use of mediums. Clark described how, “Artists who
work with science create a themed space [and] see science and art from a
different perspective.” (Clark) With this notion, she bridges the two areas of
study by turning to influential women who have researched in nature, such as
Ellen Richards, as inspiration for her work.
When
viewing Sweet Corruptions, what caught me by surprise wasn’t the work
composed of uncommon materials in a museum setting, but the water color
drawings that Clark had produced. Clark’s work acts as a prediction of the,
“industrialization of our planet [and] the disconnect between man and his
environment, both metaphorically and literally,” (Clark) which is eloquently
represented in her two-dimensional work. When viewing the work at a first
glance, the components seemed to be randomized, but I soon learned that there’s
a balance present between air, water, and food--elements necessary for the
survival of most organisms. Clark referred to this is Earth’s household, tying
it back to the significance of women research and the understanding of ecology.
Clark continued on to
discuss the discipline that her watercolor works call for; she described how
unforgiving the medium can be and how it’s near impossible to go back and edit
the work. It took me by surprise to hear that many of the two-dimensional works
in the show were done on impulse and there was little to no sketching or
planning executed prior to each work’s commencement.
Crystal
Willis
ART
350S
Lecture
Review
Due 06/05/14
Steve Lambert, Visiting Artist Lecture Series,
University of Nevada
Upon
attending Steve Lambert’s artist lecture and observing a brief overview of his
work, I was most interested in the relationship that instantaneously presented
itself between a viewer and the work. Several of the works he had shared, such
as Capitalism Works
For Me! True/False, were incredibly
large in stature and flashy, which made it inevitable for a passerby to view
the work. Designed in the same manner as a common advertisement, Lambert’s body
of work would have a more serious intention, as opposed to a materialistic one.
Although witty, his body of work would catch viewers off guard as what they
read was not equivalent to what was anticipated.
Of
the points that were articulated during his talk, I was captivated by how
connected the work enables the artist to become with the audience. Once an
audience is attracted to the work’s aesthetics, the artist zoned in and often
interacted with each participant individually, as opposed to addressing them as
a single entity. Lambert followed up with participants of Capitalism Works
For Me! True/False to better
understand the influence of capitalism on a particular person, but he also
produced works such as I WILL TALK WITH ANYONE… that thrived on
individual interactions.
It’s interesting to see
how both of these works were outgrowths from previous collaborations, such as Wish
You Were Here! Postcards from our Awesome Future. Not only was Lambert able
to collaborate with another artist, Packard Jennings, but he was able to reach
out to an array architects, city planners, and transportation engineers for
their individual input of what they would like to see incorporated into their
city. Although illustrated by Lambert and Jenning’s creative hand, it’s
remarkable to see how much integrity they were able to retain for the
individual perspectives that were shared.
Crystal
Willis
ART
350S
Lecture
Review
Due 06/05/14
KUNR Oscar Short Film Festival, University of
Nevada
After
attending the KUNR Oscar Short Film Festival, I was taken by surprise by the
diversity of the films that were presented. Although I was aware of the divide
between live action and animated programs, I did not anticipate how widespread
the subject matter would be. For me, one of the key components to the success
of the live action program was the particular order the films were presented: Helium,
The Voorman Problem, Avant Que De Tout Perde, Aquel No Era Yo, and Do I
have to Take Care of Everything. Helium set the tone for the
remainder of the films, presenting a storyline that turns a heartbreaking fate
into a magnificent journey, as, “a dying boy finds comfort in the tales of a
magical land called HELIUM, told to him by the hospital janitor.” (Event
Brochure) By demonstrating a solemn and inevitable fate and pairing it with an
immaculate and hopeful ending, Helium prepared an audience for the films
that would follow suit, illustrating issues such as abuse and day-to-day
frustrations. Although Helium better prepared an audience, there were
still moments that were difficult to bear. I can recall sitting next to a gentlemen
who was crushed after the first segment and shared that he would have preferred
to live his life without seeing several of the images that were projected
during the festival.
As the latter half of
the presentation commenced, the animated program provided an opportunity to
lift the spirits of the audience. The films of this segment were whimsical and
ranged from classic to abstract characters and themes. For example, the winning
film Mr. Hublot demonstrated how, “the eccentric, isolated Mr. Hublot
finds his carefully ordered world disrupted by the arrival of Robot Pet.”
(Event Brochure) With the animated films following the live action program, the
conclusion of the festival was uplifting and joyous, as opposed to heavy and
reflective.
