Summer June 3rd 2008 54” x 64” oil on canvas, including enamel, acrylic and ink .
Bushwish Open Studios Weekend of June 7th - June 8th
June 11th, 2008 - Posted in Uncategorized | | 0 Comments
Enamel on canvas 40″x40″
Enamel on canvas 40″x40″
January 1st, 2006 - Posted in Uncategorized | | 0 Comments
flash movie
October 2nd, 2005 - Posted in Uncategorized | | 0 Comments
3
At this particular stage the lure of working has been reduced to a dramatization found on contemplating the aspect of justifying why the outcome is what it is . As I have said prior to this third installment of lyrical introspection, I was working on a rather small plane. Over the summer,while listening to the radio playing a tape of an execution squad in Sarajevo shooting down a row of young Muslim men,decided it would be more challenging for me to move on to a larger plane of expression, increasing the canvas size in other words. Indeed I was right. By speaking to one professor about the recent hardships in translating the same motive unto a larger canvas, I realized that what he said was already a solution long before. I had unintentionally disregarded this solution. The genesis of the obstacle ;choosing to enlarge only the plane, but failing to realize that the objects used for marking should also be enlarged. i.e brush
The materials I was working with last time I worked in the studios have only subtly changed. The varied affect of contrast is still apparent. As opposed to using the high gloss of shellac, I am juxtaposing the supreme flatness of soft pastel with the gloss granted by oil paint.
The question posed is : “ Does your work reflect your personal experience in any explicit manner ? “ Anything we do, say , paint , sculpt reflects personal experience in the end. Whether its explicit or not, the viewer would then only be led by the intention of the artist, be it genuine or farcical. At this point either I or you could assume,the “explicit” referred to in the question is relative to emotion. Personally, highly emotional work which does not involve the general public exudes megalomania.
My work very rarely contains narrative in the traditional sense. It is left to the viewers discretion whether to create a narrative applicable to their perception within the setting which I consider to be my work.
October 1st, 2005 - Posted in Uncategorized | | 0 Comments
Recently, since working in a studio with a multitude of other artists, I have noticed the seeds of competition sprout. This is not necessarily a bad thing, since competition pushes anyone to push themselves. I am enduring constant self agitation. This dispute derives from my intention as an artist, to keep artwork acutely genuine, without having to mind if the result is compensated or rewarded by the exterior. From the arguments I have had with other artists, I have deduced that the vexation runs parallel with the artists ability to sell or show their artwork. How the artwork acquires qualification is not written in a rule book. Everyone is running away from the responsibility of naming an artwork this or that for fear of seeming extreme, which in turn becomes survival of the loudest and not necessarily the best. According to some students that have known my work over the years spent at SVA, my work is in flux, although maintaining its motive. This semester I will be working in a very unorthodox manner, mainly because I intend to use mediums which are incompatible. Some of the materials I am using include shellac, asphaltum, oil sticks, oil paint, acrylics, enamel, and India ink, which I tend to combine in one painting for varied effect. At the moment I am unconcerned with the fate of the canvas, and changes occurring due to the mediums used. If something accidentally becomes part of the painting, I let it be, as long as I can enjoy its consternation. Currently I am working on a series of 12×12 canvases portraying forms of abstraction. In my work I do not use images of reference at the moment. The images portrayed in my paintings come from childhood memories, events, dreams, moods, and whatever else my senses have so far gathered and retained from the world around me, ideally.
To outline the direction that I would like my work to follow, I can say only that my work will continue to change. I will be going back to representational work bordering on abstraction. If I am not working purely abstract, I would like to adopt a reference image into my work, although I am not currently sure what that image of reference might be.
Having a studio at my disposal drastically loosened my work. I believe this came about from having the opportunity of working on a regular basis, daily. With the possibility of retrospect, I am now able to see the difference that working fluently allows me to depict work more efficiently and coherently. For the entirety of the semester I have not strayed far from the initial materials I began with, although I did come to acknowledge the transience of working on paper as opposed to a heavily primed canvas. Changing the materials would indeterminably change the process, but not the essence of the work. I seek the suitability of the medium to create interchangeably.
Thus far, I have not hinged any sentiment toward a political tryst within the work, nor do I intend to. It is much easier to grasp meaning by writing, rather than portraying. Painting allows much to be said, but rather subjectively. I find it necessary to mention that with the culmination of a semester and a supple body of work, I now feel faced with personal questions regarding the responsibility of artists, if there are any. I am well aware that my views are unpopular with many contemporary artists, maybe because I have not matured or adultered my views sufficiently, as is the case with most naive freshly graduating art students.
On a lighter note, I can say that there is a possibility brought on by future experience, that a more satisfyingly valid, soft to the ear opinion would then flourish. Is there a case for justifying one’s existence as an artist? Frankly, I do not see the often-mentioned converging view of the artist’s responsibility to the world as a valid presentment. All the Good Samaritan assurance aside, I find the contemporary art world altogether introspective. When creating original content one does not necessarily want to admit that was influenced by another’s original content. For myself there is an over abundance of possible influencing factors battling with ones ego, which is the most present aspect of life. Art, then, is an interpretation of subjective reality, borne by the undeniable ego.
-anca tudor
June 1st, 2005 - Posted in Uncategorized | | 0 Comments
mixed media
http://www.ancatudor.com/additional/archives/one.jpg
May 31st, 2005 - Posted in Uncategorized | | 0 Comments
Marcel Duchamp 1887-1968
» “Artist, born in Blainville, France. The brother of Raymond Duchamp-Villon and half brother of Jacques Villon, he became famous with ‘Nude Descending a Staircase, No. 2’ (1912) exhibited at the New York Armory Show (1913), and was a founder of the Société Anonyme,New York (1920), an organization promoting nonobjective art.
An intermittent visitor to New York, he led the American Dada movement that tried to convey the absurdity of life. He was among the first to construct mobiles and to produce works made of found (junk) objects. His glass,wire, and painted foil construction, ‘The Bride Stripped Bare by Her Bachelors, Even’ (1915-23), was one of his last major works. One of his most famous pieces was ‘L.H.O.O.Q’, a reproduction of Leonardo’s ‘Mona Lisa’ to which he added a moustache and goatee. Settling in the USA(1942), he became a US citizen in 1955 and virtually abandoned art in his final decades to concentrate on playing chess.” SOURCE
Nude Descending the Staircase
The Bride Stripped Bare by Her Bachelors, Even, 1915-1923
“It took eleven years to bring this work to what Duchamp called a state of “final incompletion.” Only when it was accidentally cracked in 1926 did Duchamp announce that it was “finished.”‘
Fountain
Bicycle (found objects)
Hat Rack
“Marcel Duchamp, L.H.O.O.Q., 1919, rectified readymade, pencil on a reproduction — a chromolithograph, 7 3/4 x 4 7/8 inches, private collection, Paris. As if the addition of mustache and beard weren’t enough of a poke at this most famous of paintings, the letters Duchamp penciled — L.H.O.O.Q. — at the bottom of his altered image are meaningless in themselves, but when read aloud in French, make the sound of “Elle a chaud au cul,” meaning, “She has a hot ass.”‘
Given: 1. The Waterfall, 2. The Illuminating Gas
(Etant Donnés: 1° La Chute d’eau, 2° Le gaz d’éclairage ), 1946-66
Outside and inside (The Philadelphia Museum of Art)
This is what the viewer sees once he peeks through a small hole in the door . (above)
February 2nd, 2005 - Posted in Uncategorized | | 0 Comments
Postmodernism Lecture Introduction
I thought I should take a word of advice once in a while, and in doing so, help the few get accustomed to some aspects of what postmodernism includes.
The information which follows comes by way of other means, not my own. Each day there will be a new postmodernist artist presented. Lets begin.
_______________________________________________________________________________
“Postmodernism is highly debated even among postmodernists themselves. For an initial characterization of its basic premises, consider anthropological critic Melford Spiro’s excellent synopsis of the basic tenets of postmodernism:
“The postmodernist critique of science consists of two interrelated arguments, epistemological and ideological. Both are based on subjectivity. First, because of the subjectivity of the human object, anthropology, according to the epistemological argument cannot be a science; and in any event the subjectivity of the human subject precludes the possibility of science discovering objective truth. Second, since objectivity is an illusion, science according to the ideological argument, subverts oppressed groups, females, ethnics, third-world peoples (Spiro 1996).”"
* below you will find a guide to postmodernism *
http://www.as.ua.edu/ant/Faculty/murphy/436/pomo.htm
January 25th, 2005 - Posted in Uncategorized | | 0 Comments
