Simulacra and simulation By Jean Baudrillard, 1981- Dennis

This was a fascinating article. I have been thinking of how my art fits in with simulacra and hyperreal concepts. Like many artist in the past, now and in the future, i also strive to make something out of nothing. Generally, all the art works that i do consist of sporadic or random output. The input =’s all of my life experiences up until now. I will never be able to escape those memories. My choices within art do not intend to re-create, or show reality in any such extreme detail. Images that are mass produced can sometimes stick out in our minds more than any authentic tend to be geared towards releasing inner gestures, which may or not represent or be a reaction to something physical. I feel like sometimes writers like to analyze/dissect concepts and observations to the point of boredom.

Keith Croshaw - Simulacra and Simulation

Simulacra and Simulation

The article Simulacra and Simulation by Jean Baudrillard continues to explore how the idea of the image has as of late really been disembodied. As similar with other articles I’ve read it goes into depth to define what an image is and what it really means. Even if we are told that we are looking at an original work of art, how do know it is an original image? And does it matter? In essence an image that can be described as simulacra would be an image that lacks the original aura, usually by means of representation.

I can relate this to my life how much of my generation likes to view life through a computer, when in reality there is nothing like experiencing things in real life. Documentation of an artist’s work usually does the piece no justice without being able to see the piece and interact with it exactly as the artist intended.

Simulacra and Simulation Response, Kevin Keane

We live in a heavily visual world, thus making simulacra a significant concept that coincides with our everyday life. Corporations and advertisement are almost all developed through strong imaginary and how they are represented. While reading this essay it reminded me of famous images like the Mona Lisa and how I think I know what the Mona Lisa looks like and I could describe it, yet I have really never seen the authentic Mona Lisa. The replication of reality has taken this authenticity and intertwined it with the simulacra.

Crystal- Simulacra and Simulation

Simulacra in real life is most apparent when there are movie or visual adaptation of books. When a reader reads a book, he or she imagines what the characters look like and the environment they are in. But once there is a visual adaptation of the book, the actors and drawings become the iconic image for these characters. It's hard for people in our era to see anything without an icon or any visual element representing the imaginary and the real. Plus, when an image becomes an "official" representation of reality, many would fear to stray far from that image when creating fan works.

After all, when you think of famous written characters, such as Frodo or Harry Potter, do you think of what they looks like in the movie or what your imagined them to be when you read the book?

Dan McCafferty - The Print Center

I am very interested in prints, copy's and repetition in art. I went to The Print Center in Philadelphia during the Philagrafika event. In the exhibit there were many black and white prints mostly out of wood cut. I was interested in the size of the prints and curious on how they made them on such a large scale. I have worked with printmaking before and it is very tedious and detailed with different procedures. There were a few artists that I enjoyed the most at the exhibit: Sue Coe "Helping Hands" (woodcut), Eric Avery "Paradise Lost" 2010 (woodcut), and Art Aazelwood "Which Side Are You On?" 2009 (woodcut). Art Aazelwood's print were two identical prints flipped vertically next to each other. What I find most interesting out of all of the prints that were show is how recent the ideas and imagery was but how old school the technique was. Prints such as the one called "Helping Hands" about Haiti and a few others dealing with recent events. It is fascinating how these artists still use this out dated technique, but I do understand because it creates such a beautiful piece of art.

PHil Grasso Exhibition

The Tim Burton exhibition at MoMA is amazing, the man is a genius in my opinion. His artwork was always strange to me, which is why I associated him with the movie business, never really an artist. There are seemingly infinite drawings and models in a place that is entirely transformed so the viewer has this journey through his mind and imagination. I was spending a lot of time thinking about this as i walked around. It became the thing that I remember the most, feeling as if you were in another place, or time.
The entrance really sets the mood for me, a tunnel with this creepy looking head who becomes the doorway; the opening being his mouth. These teeth protrude down from the top of the door frame becoming semi invasive, given the already preconceived idea of what teeth or a mouth does. As you pass through you see that there is a consistency to almost everything, which is understandable given the nature of the artist, however the things I was viewing were extremely playful and inviting in a sick way. Like images of these set displays of a weird looking being which is all bloody, in a bloody room, standing next to a christmas tree. Its so strange to me, but they make for such comical, fun atmospheres.
The amount of sketching he does is unbelievable. I rather enjoy to always have a sketchbook around to make quick drawings of ideas, and my style, I feel, wants to be reminiscent of his. It almost brings this sense of jealousy or longing, or even anxiety. In other words, having to view the works of an artist such as Tim Burton, especially when you are so attracted to the drawing style, it is hard not too feel something that makes you wish it was yours.