Rachel Meneguzzi – Final Project Research Presentation

Erik Kessels


24hrs_of_photos Erik

24 HRS in Photos

– Installation of 1 million photos uploaded to Flickr, Facebook and Google in 24 hours.

– Shows how we constantly overwhelmed by the amount of images we are presented and have access to.

– Shows how public our private life has become.

Penelope Umbrico


– Uses appropriation and extraction from social media and online shopping sites (flickr, craigslist, ebay).

– Uses subjects that are collectively photographed, and then collects them herself.

– Has a strong interest on how images function differently online than print-based images.

– Aspects of “images-blindness” (as discussed in the third reading).

Sunsets from Flickr

– Every image of a sunset uploaded to Flickr.

Tv1 Tv2

T.V’s From Craigslist

Images of televisions put up for sale on craigslist.

– The photographs provide an extremely personal space to the viewer through the reflection of the interior of the room and the photographer

– The people taking the photographs don’t realise how personal these images really are and uploading them online for anyone to see, in the same way that people looking to buy a television are not noticing the reflections.

My idea

– The overwhelming amount of images we see daily distorts the way we view things just as the overwhelming amount of time we spend on our phones distorts the way we experience things.

– To critique not only image-blindness but experience-blindness that technology, cell phones in particular, impart on us.

– I want to show that our private life has become public through the use of social media because of this, we are losing social skills


Christine De Vuono – Final Project

ARTIVISM is the act of melding Art with Activism. Many artists who begin to document injustice find themselves in the realm of the political. We only need to look at the works of Ai Weiwei, Richard Mosse, Brian McCarty and Shadi Ghadirian to see the transition for documentary to activism.

In my final project I am planning to look at ways to explore how the declaration of Human Rights (1948) is either denied or reflected within our world.  Like the Terms and Agreements we all need to agree to in order to access technology,  Human Rights is another document we in theory agree to, yet it does not penetrate our day to day existence. Through this photo project I want to begin exploring the Rights that are part of who we are and in theory must be agreed to when dealing with other people.

I am looking at various artists that explore Human Rights and illustrate injustices through their art.  Aside from the beginning idea of melding articles from the declaration with protraiture, I am still exploring how I want this to look in its final form.

I have had trouble loading my slides onto WordPress in a form you can see as part of the thread.  I have managed to create a link to the PowerPoint, so if you want to look up the artists and various websites linked to their work, please download the slide presentation and view them that way. ARTIVISM

Vik Muniz, Alfred Steglitz and SABER

Equivalents: The Room With The Clouds

Between 1922-35, Alfred Steglitz created a series of photographs titled ‘Equivalent (series)’ these photographs were taken of the cloud formations which took place in the sky. Steglitz believed that clouds were capable of representing ‘abstract equivalents of his own experiences thoughts and emotions.’ [1] The lines, shapes, formations and colours depicted through the clouds and then later, the photographs, were reflections of the inner soul and through this practice, it upheld the modernist values and in response Steglitz formed the term Equivalents. Gelatin silver print medium.

An Artist called Vik Muniz, often referred to as an illusionist or picture tease, often creates works that depict one thing but in actuality are something else, capturing one medium in the matrix of another. In 1993 Muniz created (or guided) a series of photographs and sculptures called ‘Equivalents’ as a postmodern extension of Alfred Steglitz series. Muniz stretched open and manipulated cotton balls and assembled them to look like clouds. Muniz wanted to comment on ‘everyman’s art’ (of no instrument but of the imagination) but also plays with the artistic formulation to devise a scene from an old practice of cloud watching. Muniz isn’t concerned with assimilation, the full understanding of clouds but rather the craft of artifice, the deceiving of the viewer and questioning the norms of public sphere.[2] & [3] & [10]

12 inch diameter

12 inch diameter 1997 Untitled Glasstire.com


Both Steglitz and Muniz layer meaning within their works while exercising abstraction, while Steglitz comments of the equivalents between form and emotion Muniz is more so referencing the tangibility of cotton and clouds.
Muniz continues his thoughts on clouds through his bronze sculptures that imitate Gianlorenzo Bernini’s baroque marble renderings of clouds in the Ecstasy of Saint Teresa. Although the clouds Muniz installed are held up by thick metal rods, the clouds still appear weightless and fluffy. As well as the photographs the sculptures provoke one to use their imagination to create representations in their mind. While the photographs are named, hinting at clues which guide the imagination the sculptures are all untitled to give full reins to the viewer. Muniz asks this question of does it matter if the clouds are real or not if the same kind of thoughts and reactions are provoked? 

In a paper that Muniz wrote he discusses representation through semantic memories, Muniz is an artist that uses this system to create illusions within his work. Here he describes this notion better than I ever could:

“One generally recognizes representation based on the fact that the depicted image looks like something one has already seen, learned, or experienced. This mediation between newly acquired and previously apprehended sensory stimuli occurs through the faculty of “semantic memories” a process through which data is voraciously retrieved from the chaos of the external sensorium. Here, everything is “abstract” at the outset. Whenever the semantic memory fails to locate a precise equivalent to a given stimulus it compulsively forces the equivalence, making use of approximation. Thus, the interpretation of forms (abstract to one’s experience) becomes the result of an entirely personal process.”[4]

He then goes on to talk about how to access these memories and create an image; it roots back to language, one cannot envision a cloud looking like a certain representation if one does not have that knowledge and the content then goes unnoticed. That’s what I appreciate about his cloud series, that there is something there for everyone who has an imagination of their own or as he says quoting Aristotle ‘the eye of the soul’. It’s interesting because Muniz comments on Aristotle interpretation of abstraction as an immediate experience from a distance. I find this very interesting because he then relates this to miracles, he quotes St. Augustine in saying “Miracles happen, not in opposition to Nature, but in opposition to what we know of Nature.” It is not miraculous that we see representations in clouds, miraculous depends more so on the notion of proof and substance. I think that by creating deception in a work, to imitate the real without it necessarily being that reality, can stop to make people think about what it is they’re really looking at and what that means in opposition to looking at the true experience, inventing that distance, guiding that abstraction, I believe can act as cycle that leads us back to the miraculous.

Muniz carries these ideas along not just in the series Equivalents but also in series like ‘Shadowgrams” where he creates representations with his hand shadows. [5]
His series ‘Pictures of Soil’ where he manipulates soil to look like different things [6]
His series ‘Pictures of Holes’ photographs of holes in forms of other things.[7]
There’s countless other projects that carry out this notion of the imagination and the medium of one in matrix with another.


Another Artist I was looking at is a graffiti and Fine Artist who goes by the name of Saber.
Unlike Muniz who’s clouds were inspired by sky culture Saber uses the sky as a canvas for his medium. He used five flying planes to carry messages about a presidential candidate who plans to kill funding for artists. Saber recognized the benefits of spreading messages across an area that reaches so many people because the sky is apart of our day, everyday. Saber believes that cutting funds in the arts is like cutting jobs that make up the engine of our economy especially an economy that grows through creative thinking. Messages like “Defend the Arts” and “Protect” flew around the NY sky for an hour and half and had an estimated 20 mile radius for those to see. Saber included a # before every message, I believe this was done because like social media and communication through the internet Saber found a way to reach many people very quickly. Using the sky as a canvas his message was literally carried through an everyday aspect of being human, the sky. [8]
Saber also does a lot of paintings which express graffiti on the canvas creating a ‘new reality’ and also works with digital mediums to create and activate political debates.

Tags in the sky

Tags in the sky SABER #DefendTheArts Brooklyn Street Art.com

Vik Muniz, the Rower. Saint-Lucy.com

Vik Muniz, the Rower. Saint-Lucy.com


1. American Art. The Phillips Collection. Alfred Stieglitz Equivalent (Series) .URL http://www.phillipscollection.org/research/american_art/artwork/Stieglitz-Equivalent_Series1.htm

2. Vik Muniz. 1993 Collection. URL http://vikmuniz.net/library/pictures-in-clouds and http://glasstire.com/2005/01/02/hovering-between-reality-and-illusion-in-vik-munizs-equivalents-the-room-with-the-clouds/

3. Glasstire. 2 Jan 2005. URL http://glasstire.com/2005/01/02/hovering-between-reality-and-illusion-in-vik-munizs-equivalents-the-room-with-the-clouds/

4. Vik Muniz. Articles by Vik. The Unbearable Likeness of Being. 2015. http://vikmuniz.net/library/the-unbearable-likeness-of-being

5. Vik Muniz. Gallery. 1993. URL http://vikmuniz.net/gallery/shadowgrams

6. Vik Muniz. Gallery. 1997. http://vikmuniz.net/gallery/soil

7. Vik Muniz. Gallery. 1997. http://vikmuniz.net/gallery/pictures-of-holes

8. Brooklyn Street Art. SABER tags sky over New York to Defend Arts and Bash Romney. 23 Sept 2012. URL http://www.brooklynstreetart.com/theblog/2012/09/23/saber-tags-sky-over-new-york-and-bashes-romney/#.Vj5OfGSrQfE

9.  Opera Gallery.URL http://www.operagallery.com/ny/ny16/saber.html

10. Vik Muniz. The Commutability of Traces. Articles. Library. URL http://vikmuniz.net/library/the-commutability-of-traces




Victoria Coles: Photo 3 Final Assignment

What is my series considering?

  • Colour
  • Beauty in the Banal
  • Overconsumption/mass consumption

The nature of this project is colour, how they interact, how they can stand out from the crowd. It is fundamental to the act of seeing. It is hard to separate colour from the sight. Colour alone, without context (in an abstract form) can create a story, a feeling, a person.

Colour Wheels

Newton and Gothe
While not artists but theorist, these two individuals have a significant impact on my piece. The colours, and medium give the feel of true pigments, and reference to the colour wheels of past.

Colour Sphere- theory of colour by Geothe

Theory of Colour- Colour Sphere

024_harris1a Goethe_Schiller_Die_Temperamentenrose 250px-Goethe,_Farbenkreis_zur_Symbolisierung_des_menschlichen_Geistes-_und_Seelenlebens,_1809

The “first” abstract painter was inspired by an old painting of his turned on its side. The removal of referential objects allowed the full impact of pure colour to work on his senses. He believed that objects were only obstructing his direct communion with colour.
Vassily_Kandinsky,_1923_-_Circles_in_a_Circle color-study-squares-with-concentric-circles-1913(1).jpg!Blog

Artist- Mark Rothko, Multi forms

Considered one of “the foremost of modern colourist”. “Bright Earth” by Philip Ball
Rothko had a notion that viewers of his work should cry from the emotions they felt from viewing it. He had an amazing understanding of colour, how one colour could enforce another, and how all colours can cause emotions. His paintings are abstract and rely on colour, however, Rothko expressed that the paintings were of something. The colours were simply his way of depicting the emotions and feelings of the moment or thing he felt called to paint.


Rothko Multiforms earth-green black-in-deep-red violet-black-orange-yellow-on-white-and-red Saffron 1957 by Mark Rothko OSA253  orange-and-yellowuntitled-1969-mark-rothko


This black and grey series were done near the end of Rothko’s life. While you may think that these colours represented a dark, lonely or looming end. However, Rothko explained that colour for him was to reference emotions, and bright colours often conjure the feeling of pain (explained by Rothko’s daughter as she reflects on conversations with her father about these paintings)

Lecture ft. Rothko’s son


Clip from MOMA

Beauty in the Banal

During my exploration of a fall portrait. Particular colours which seems out of place grabbed my attention, realizing that we often view things, but we don’t really see them. This process lead me to think of the banal moments in our every day life. We live these moments, such as making your bed in the morning, or waiting on the bus, that we view in complete boredom. However, imagine if you were to really look, and saw the beauty in each image, each moment. Colours shape our world, but I worry that we see it in black and white.

Mass consumption of images

Like with many pop artist, I am concerned with mass consumption of our era. However, my concern is for the consumption of images and moments as opposed to items. We take for granted the moments we live and the images we see, ignoring the striking beauty of each. This concept goes hand in hand with the beauty in the banal. I hope that in my exploration, I am able to bring a new appreciation to every moment. I believe there to be a link between how we consume images, and how we consume colour.

Artist- Andy Warhol

“Art does nothing more than mirror the culture that produces it.”  Bright Earth , Philip Ball (318)

Unlike Warhol who uses repetition to mimic the process of our mass consumption, I hope to do the opposite. Through my repetition, I hope my images causes the viewer to slow down and absorb the image. Creating a moment where a viewer may be able to experience the opposite of the mass consumption of images they  view every day.

Additionally, Warhol was interested in the banality of photography.


Andy Warhol Cocacola Bottles Pop Art Campbell's Soup Cans Andy Warhol Pop ArtMarilyn- Andy Warhol

Siobhan: Photo III Final Assignment

Interested in exploring:

  • image consumption
    • how we look at images
    • why we look at images
    • where we look at images
      • social media- Pinterest, Flickr, Google, Instagram
      • through a screen- phone, computer
  • Photographing the act of unsustained looking
    • quick
    • looking but not looking
    • scrolling action


  1. Jason Salavon
  • popular culture
  • technology- designs software algorithms

2. Penelope Umbrico

  • interested in how we use images as a culture
    • entertainment
    • share- identity
  • function of social media and “pre-scripted images”
  • methods involve appropriation, extraction and repetition

3. Erik Kessels

  • social media and the abundance of images on the Internet
  • image consumption


sample1 sample2 sample3

Final Project | Multi Location

one two

Sarnia/Muskoka, Sarnia/Switzerland, Sarnia/Alaska, France/Switzerland (not part of the project)

Victor Burgin – Fiction Film

Gus Petro – Merge

Joseph Ford – Aerial

Reynald Drouhin – Landscape Monolith

Pete Kasprzak

Phil Bergerson

My final project is based around the fantasies and dreams of my childhood. I have always been very interested in being outdoors and exploring the world, and I always had a love for seeing mountains. I think it had a lot to do with growing up in southern Ontario, particularly Sarnia. I was born in Bright’s Grove, a small community part of the Sarnia area, located at the bottom of Lake Huron and a hop, skip, and a jump across the St. Clair river from Port Huron, Michigan, USA. This area of Ontario is super flat, and is home to a large amount of farming communities, a complex of refining and chemical companies called Chemical Valley, and a large body of flat water. The few sights similar to a beautiful mountain range would be the Bluewater Bridge, the Chemical Valley smoke stacks, and the few high rise condo buildings along the Sarnia bay. Ever since I was little I would dream of living out west where i could enjoy the mountains, forests, and ocean.

My project is too bring my hometown to the places where I would have dreamt of growing up as a kid through photography and photo manipulation. Over the past 6 years I have been taking photos and achieving them. I want to take photographs that i have taken of my home town and places I have travelled too, combining both photographs to create the ultimate place I had always wanted live.

My original interest in creating a photo manipulated image was from Victor Burgin’s work in 1991 where he created images from photographs and film stills. He put these two mediums together based on a fictional movie script he made up, which is where these film still would be from. From there my research brought me to an article I read a few months ago, where Gus Petro placed New York City within the Grand Canyon. His work is very believable and the matching between colour and environment is well done. He explores the boundaries for a dense city placed within an empty terrain.