Attending the lecture, i was eager to hear how someone within the big gallery scene approached inhaling art. i liked many of her ideas about scouting out artists, such as she needs to see something new to want to work with a particular artist and the fact that she knows that she must be an expert in her field, i don't think a lot of people feel that way about their job. Her presentation of another artist's work was also impressive because of the background information she gave us on why these ideas are important to her and the artist. I think we usually only get one side or the other of that story. I think this approaches where the job of an art historian becomes useful to artists, other than that I'm having trouble finding any use. She drew parallels with movements in design from the Bauhaus and correlated an understanding of Schabus' art in a linear way through art history. This makes understanding her views and hopes for what art should do easier for me to accept then a Greenburgian rant or a jab from Hickey.

The work I've done so far this semester with the presence of the object is continuing to move forward, in my mind anyway. From the pile piece i think the video installation was the next logical move for me. I think the next force will be to create an object that exists in time and space under the requirements of the known natural laws (this is mainly because at this time i do know how to transcend them). I'm thinking of objects with no utilitarian use (i can't get away from the Nauman slant step and i am fully aware of this - just o everyone knows!) or other meanings of the core idea of an object such as thought, memory, or intention. I'm not sure where this going right now, I'm thinking fabric and thread being swooshed together with needles and speed. i would like to see this action end with some sort of voluminous form with thought, memory or intention.

As far as music goes, i listen to a lot of jazz and I'm very aware of what music i can listen to while i work and what music i cant. The projection piece i did would most closely relate to Terence Blanchard's piece for trumpet entitled Child's Play, it's off his album titled Flow, if anyone is interested, he comes highly recommended (from me) to provide inspiration and jazz that follows a constantly forward moving trajectory. This song in particular is interesting to my work because he provides all the parts of a melody within each separate part of a song without developing the whole line. In other words, he gives only what we need for the moment and then later in the movement, when you feel like he's pushed you out onto the side of the road at 70 mph, he fills the rest of the melody in with enough air and abdominal spasms to yank you back in the car as he doubles back to scoop your ass up. But please, I am in no way comparing my thought process with someone like Babe Ruth or Pollock or Michael Jackson, I think that would relate a comradeship that i would be too eager to pursue.