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Tutor profile: Redeem P.

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Redeem P.
Fine Arts and Art History Enthusiast
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Questions

Subject: Graphic Design

TutorMe
Question:

Why is it important to be open to critique of your design?

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Redeem P.
Answer:

Design is communication. There is always a way that we can improve upon our ability to communicate an idea, an experience, or story. It doesn't mean that our work is bad, it just means that we should be open to expanding our design language.

Subject: Art History

TutorMe
Question:

How did new forms and styles of art in the modern era effect the picture plane? List examples of art principles.

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Redeem P.
Answer:

Bending the plane does not release the artwork nor reconcile it from the space. In the modern era, the picture plane is stretched and expanded to accommodate to new forms, while also reinforcing a singular dimensional narrative. - Expansion - Manipulation - Illusion - Depth - Free- standing - Level to the gaze, below the gaze - Movement within space, not static

Subject: AP Art History

TutorMe
Question:

What does O’Doherty mean when he writes, “The ideal gallery subtracts from artwork all cues that interfere with the fact that it is “art”?

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Redeem P.
Answer:

To discuss the ideology of the white space, one must also discuss the ideology of whiteness. In a historical context, the white space is the ideal, the pinnacle and simulacrum of a secular media. The art object not only serves as a medium for ideals mandated by the transgressions of a singular white consciousness, it is the medium through which white consciousness is magnified in white spaces. O’ Doherty, believes that the ideal gallery subtracts from the artwork. The artwork exists as a secular object only revealed through the structure of the space. He also believes the space entombs aesthetic ideas, created to illicit a sense of reverence. On the altar of such ideals, the art object is then placed. However, can the gallery exist as a cell or vacuum? In order for such space to maintain its structural significance, it must also maintain a set of statutes that govern the spaces around it. His version of the “ideal” gallery only exists because it is assumed that the art object can be freed under its own capitulation to the space. The modern space itself, O'Doherty describes as clean, white, unshadowed and artificial. Already, its existence is tethered by a language that still submits to the post colonial sentiments of modernism and the avant garde. By deconstructing the hierarchical discourse that allows the white cube to assume the position of the neutral spectator, only then can the art object exist beyond its juxtaposition to the structure in which it was placed. The gallery can not only be interpreted as the wall, but also as the frame itself; a frame of reference and a frame of context. In the 19th century, the frame served as a zone of immutable depth. Placed in proximity to other objects, the framed picture is one of object performance; a synthesis of illusion manifested through a disembodied Cartesian experience. In relation to the Salon paintings of the 19th century, O'Doherty argues that the “installation shot” reinforces the same principles. The spectator is aware of their own proximity to the object . While occupying a measured distance, the frame is transformed, the window is removed and a singular spatial consciousness seeks meaning from representational or non representational imagery. The hanging artwork beckons to an upward gaze, while the contemporary unframed piece bends the peripheral plane. A new illusion is then created, the illusion of progression and intellectualism, that masks the fallacy of the white genius.

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