Spring 2011 First Thesis Crit: Jan. 28th. 2011

First Thesis Critique Response:
For my first thesis critique I showed the two works on either side, but I primarily focused on my ideas for the final thesis project. I discussed that my thesis would be an installation, placed in the main gallery space. I discussed how and what materials I will find and use to create my installation, room-like structure. My influences come from the following sources below, which I also discussed in my critique: Ilya Kabakov's Palace of Projects, 1998 - I am specifically looking at the outside structure of the work and how that translates to the work.
David Edgar's play, Pentecost, which discusses a found fresco from the 1400s as well as the writing of refugees, writing to tell their families where they are on the same wall as the fresco, which is more important?
Thomas Hirschhorn's Cavemanman, 2002 - a contemporary cave, filled with tons of found images, contemporary books, magazines, and mass produced aspects of society.   Cavemanman Video 

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 I talked about how the structure, the use of cardboard, tape, plastic, and wood in my construction is related to the commonality of these products, the appearance they can make as calculated choices themselves instead of just building materials. Using written language in my painting, the writing of all different cultures, and referencing ancient writing, as well as, mark making, I want to create an atmosphere of contemporary society, past and present. 

Ilya Kabakov's Palace of Projects, 1998

Ilya Kabakov's Palace of Projects, 1998

Pentecost, A Play by David Edgar

Thomas Hirschhorn, Cavemanman, 2002

Megan made suggestions about possibly thinking about both handmade and computer made, employing suggestive fonts, or referencing how mark making has changed over the decades because of the influence of the computer and electronic resources. I could also look at wingdings and other fonts that have become a part of the mainstream.
A source that was offered was "How Art Made The World" a BBC documentary made in 2006, specifically discussing cave painting and the context of how that art was created. Thinking about as well whether the the appearance of the structure will seem to reference the ancient or the past, with a nomadic dwelling, will it be circular, what is the history of the space, and do you access new mark making inside of the space.
Other questions that arose after my critique that I will bring up in the next critique:
How should the observer enter the space?
What should the viewer gain from experiencing the space?
Where in the main room should this piece be placed, will it be blocking other work?

Thomas Hirschhorn, Cavemanman, 2002