36 Chambers

On the surface, this movie is visually fun to watch because of the action, odd cinematography, and off sound clips. It could be brushed aside as a "bad" film because of its outdated existence, but when looking at it for concept and not just face value, the film gains a lot of personal meaning. The comparison to the Shaolin temple and Tyler is surprisingly easy to make. Both San ta and I both worked our tails off getting hear. We both held an idyllic view of what it was going to be like. We recognized the amount of work, but did not know how taxing it would be. The actual school is different than that we expected. I doubt that San ta expected to carrying killer watter buckets, spinning ninja stars with a bamboo stick, or knocking his head into sandbags intentionally. I did not expect my bedtime of around 11 to change to 3, to be creating a 6x6 foot drawing, or to have many major art projects going at once. They are physically and mentally challenging in different ways. Both require a persistence and tenacity. There is no option to give up, and there is no point in not doing the best work I could possibly do. In the beginning of the first semester, all of the work was like trying to eat on top of a floating log. i did not completely understand how to balance my schedule, my room mate was awful and I did not know how to deal with her (now I just live at Tyler or the lounge to avoid her), and adjusting to college independence and the freedom that it really entails. I feel like I've learned to balance my work load, not so much balance as just to work all the time in order to do things I want to every once in a while- like go swing or salsa dancing.
The one thing that I think will differ most from the movie will be after school. Everything just falls into place for San ta. I feel like I'm going to have to work harder when I get out of art school to achieve my dreams. I want to major in Jewelry Metals CAD/CAM, so I'm hoping that I can get a job in industry when I get out of college. With the income I make from that hopefully I can continue my own work. I hope to remain within a group of artists that can meet to discuss work. I would love to design for a high end designer, and to teach art at a college level. San ta gained the respect immediately of people who saw him as he ventured from the temple- to be respect within the art world takes much more than just graduation from a reputable art school.  People have preconceived notions of "good art." There are classic artists who students can work to emulate or oppose, either way, making a little voice of a young artist is much harder than San ta's immediate reward. Instead of the single kung fu master venturing out in the world to seek vengeance, art students graduate yearly by the thousands.

JOHN ARMLEDER

The artist, John Armleder, cares about what his audience in the scene that he is creating work for an audience. He cares that the audience, but not so much what they think. Some artist aim to be associated with one school of art or to arouse a certain feeling through their art. Armleder does not care what school of art he is associated with, but he values the audience's placement of titles that weren't origonally intended. As an artist, he says that he wants to be a part of all these different movements, and to some extent he is not part of them because he identifies with so many of them. I think artists shouldn't have to worry about what they are associated with, and while it does inform the work to art historians, the general public does not form these ties. In some scene they can interpret the are with a less clouded perception.  He himself says:
"Most important, I've never believed that what I think about my own
work has anything to do with the work itself"?

He allows and wants other people to put their own perceptions on his work. Some students within Tyler create works that are supposedly based off of extensive research, but their actual presentations do not actually read the way they intended. John Armleder removes this problem by not intending a meaning. He includes intellectual play, but does not mean for a specific reading.

His interpretation of neutral or generic art makes scene. It's odd that he feels that he needs to rely previous work to give meaning and inform his decisions. I would like to think that each artist makes their own decisions without necessarily consciously thinking of previous art movements. I know that subconsciously I am influenced by everything I see, but would like to think my art is still original without acknowledging  the influences.

I think that recycling forms is still relevant today, but it has been done before. But like he said before, basically has been everything has been done before in art. It's the concept, intention, and context in which the artist displays the work that really matters. Ready made is a reference to Duchamp, who questioned  what art was. If this revolutionary artist had gone forgotten, his work would have gone unmentioned. It is good that people utilize all forms of art.

I think his pseudointelligent way of creating is creative. It seems to be his original idea that he offers to the art world. What art is has been questioned recently, and this new idea adds to the challenging of it. I think as a way of art it's interesting, I can't say that I personally would create are this way, but it is interesting to see.

I think hearing the logic to how he sets up his installations is a little insulting, but also thought provoking. The audience can not see this condescension within the work unless they are really looking for it. It is not blatant.