First of all let me say that My instructor forgot to identify the correct pages???? for this reading. Consequently I read the other material that is on pages 321-324 which was on Super Flat Manifesto by Takashi Murakami. I also found the correct “material” culture and everyday life readings and interviews intended for this week.
Robert Rauschenberg’s statement about painting was that pretty deep he said that ” painting relates to life and art. Neither can be made.” which made a lot of since because in all actuality who does define art? and who says what you’re supposed to paint or not supposed to paint or what you’re supposed to use to paint? Isn’t a canvas already a piece of art that has been made? or a pencil or a paintbrush? Roberts Note on painting was quite complex at first glance but as I read it over again the words started to stick out; ” I find it nearly impossible to write about my work.” he says with a weird free ice about jeepaxle in between his first statement. many things in his note were confusing but as I said before I had to read it over and over again. His interview with B. Diamonstein was pretty straight forward. He said that the way he achieves immediacy in his work is not making up his mind before he starts to do it and he points out the fact that it has to be immediate if you don’t know what you’re doing right? The fraise ignorance is bliss comes to mind when he answers his next question because he was asked if he plans his pieces his response was ” I work everyday and I never know what I’m doing…. if you know something you have a responsibility,” and I find that true with everything in life. For example if you are arrested for something and you honestly didn’t know that it was a crime, you can’t go before the judge and say to him, “I didn’t know your Honor,” especially when he asked you in the question prior to that statement made, if you have ever visited the library to prepare for a research paper, and you said yes.
Jasper Johns note and interview was pretty interesting as well. He says that sometimes he sees it then he paints it and other times he paints it and then he sees it but he prefers neither when working on his art. He points out that nature always has things to see and his work has “similar possibilities for the changing focus of the eye.” He has what has been called by a teacher of his “the rotating point of view,” because his influences are from three different academic ideas from profound artistic minds such as Larry Rivers, Marcel Duchamp, and Leonardo de Vinci. his interview summed up basically said that he doesn’t like to label anything and to always be willing to change your attitudes, ideas and perceptions and to be open minded in all that you do because there is always another way of seeing things.