soloist

Lawrence Argent: I see what you mean

Park benches

Video Architecture in Istanbul

‘YEKPARE’ (monolithic) from nerdworking on Vimeo.

Frank Gehry

Frank Gehry’s Beekman Tower - Watch more Videos at Vodpod.

PANOPTICON

Bentham’s thinking

PANOPTICON

“Christopher Columbus's’s Egg”
“new type of gaze”

Great new innovation needed to easily and effectively exercise power

How a hospital is set up similar to prison

End of the eighteenth century Dr. were involved with politics, “health and cleanliness” were driving reasons for separation

Dr. were involved with the “separation “ or division of groups “sick “ or not sick

Gay / straight division

*spatial arrangement subject to control

Military and medical arranging space for land and health reasons

Important for an inmate to ceaselessly be under watch .... might lose the idea of wrong doing

skid row

What i See, Can Be Me mural 1993 by artist Michael Schnorr | The American Dream | 5th + Crocker Streets | Skid Row | Los Angeles |

A Rain Drop Falls From My Lips mural 1993 by artista Yreina Cervantez | Skid Row | 5th + Crocker Streets | Downtown Los Angeles

From Inspiration to Education, Who I am as a Creator

LOUISE BOURGEOUIS
She has famously stated “My childhood has never lost its magic, it has never lost its mystery, and it has never lost its drama.”







PHILIP PEARLSTEIN

"Pearlstein was among the first post-abstract artists to consistently separate representation from imposed narrative.[1] On first glance, the objects, bodies and settings in his paintings seem straightforward and realistic. Instincts lead us to assume that content is located in their subjects, and accordingly, we start looking for clues with which to decode the story. But we may be disconcerted to find that the figures refuse to meet our gaze, and that the bodies, objects and the relationships between them yield little or nothing." Peter Spooner, The Dispassionate Body: Philip Pearlstein, Paintings and Drawings of Figures in Still Life





CHUCK CLOSE
"Close's paintings attempt to close the gap between figuration and abstraction in 20th-century art. And since their legions of individually applied dots are structured by the pattern of an underlying grid, one could also say that they use the methodology of conceptual art to challenge the expressive possibilities of portraiture." New York Times GALLERY VIEW; Blurring the Lines - Dots? - Between Camera and Brush
By Andy Grundberg
Published: October 16, 1988









DAVID HOCKNEY
"I may seem to be passionately concerned with the 'hows' of representation, how you actually represent rather than 'what' or 'why'. But to me this is inevitable. The 'how' has a great effect on what we see. To say that 'what we see' is more important than 'how we see it' is to think that 'how' has been settled and fixed. When you realize this is not the case, you realize that 'how' often affects 'what' we see." David Hockney









ANDY GOLDSWORTHY

"My art is an attempt to reach beyond the surface appearance. I want to see growth in wood, time in stone, nature in a city, and I do not mean its parks but a deeper understanding that a city is nature too-the ground upon which it is built, the stone with which it is made." Andy Goldsworthy

My Work

Student Work: