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Editor's Notes

1. This quote was used in my initial presentation, and especially after the Dean’s presentation on Critical Theory, I felt it spoke volumes. Because in the end, that’s what it’s all about. No matter what lens or lenses we choose to use, being able to approach a work of art with thought, and with awareness makes the experience richer.
2. Oldenburg allows the viewer to create their own experience based on a physical object. The physical objects he chooses more often than not has some sort of symbolism or evoke some feeling or memory to the viewer. His work refers to human experiences. Robert Hughes said “ Americans at this time were living with a sense of “too much”. A “Permanent inflation of desire. We liked “things” Oldenburg celebrates the “Bigness of ordinary life. - In thinking about the Robert Hughes quote, Oldenburg becomes very Marxist.. He glorifies “stuff” and the consumer’s need to have it. However, his “stuff” is unusable, and therefore, would not be considered to have a “market value” As I think about what I learned about I am remembering the idea of context with Spoon bridge and Cherry, I think the context changes, in that the size of the spoon affects the size of everything else in the park. The buildings, which would typically be the largest things in the frame of the picture, are now dwarfed by the size of the spoon and the cherry. And, typically, when one has a cherry on their spoon, there is an ice cream Sunday, or a milkshake. Here, we are left with grass, and a bridge to nowhere.
3. Thoughts on Post-Colonial Criticism- In learning about this type of criticism, it seems we are learning someone’s story, but not because they are telling it. Almost because they are defending it, or fighting for it. “Nevelson was aware of her standing as a foreigner, until she came to embrace this feeling of "otherness" and used it to advance her work” As Post-Colonial Criticism and the idea of “the other” or not belonging was further discussed with Marco Deyasi, I had the thought that Nevelson’s Box Sculptures almost have a feeling of “walls” or distance. “Don’t get too close”. They are a little intimidating in color, in size. One has to wonder if her feelings of belonging were showing in her work.
4. In my own work, I am telling the stories of my travels. I came to the conclusion as I sat on top of the ruins of Dryburgh Abbey, that there was a rugged beauty to the ruins, almost more so than the beautiful cathedrals, because despite war, and conquest, and years of weathering, these ruins have stood as a testament to the people that built them, and worshiped inside them. There is a beauty in their deceivingly fragile strength. As I illustrate this in my work, I wonder if there is a bit of a Post-Colonial lens? Not so much the anger on my part, because I didn’t fight the battles, or have to defend my beliefs, but the survival, and the passing down of tradition. Learning more about Reader Response, and Deconstructive Theory was helpful in building my confidence. I began to embrace the idea that we all have experiences, knowledge, and opinions that will cause us to interpret a work of art. It isn’t so important that everyone embrace my ideas, or take away the idea that I intended to put out in my work. What is important is that when my work is out there, it causes someone to look, think, and respond in some way.