Guide In the Minds Eye: Our Emerging Visual Culture

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When I think about Eastern painting, I feel it is about symbolism and maintaining a visual tradition. For example, when painting a portrait of someone in Ming Dynasty China, their goal was not to capture their likeness. Instead, they would compose the face based on symbols of his personality.

ACIAC | ACIAC Emerging Scholars’ Forum

So the final image would look nothing like the actual person but as a viewer, you would recognize, by the symbols, the sitter was wise and benevolent. This idea of mixing east and west is really ingrained in my mind and can never seem to go away from it for too long in my artwork. The transformation in image between different parts of the world is nothing new in our culture. Universal recognition of the image is imbedded in culture.

The internet and globalization seems to have changed that. I definitely agree that the internet has expedited the globalization of imagery. When I am browsing Instagram it is often hard to tell if the image I am looking at is from America, Australia, or Korea. I find it interesting how quickly visual culture can match each other. The internet is just accelerating it to such an unbelievable degree. I think in a technological context, there is much less concept of east and west because, as you said, globalization has changed everything.

An Iphone has parts made from around the world, developed in America and assembled in China. However, I am not really interested in Globalization in that sense. My inspiration is from classical artwork before trade lines had been fully developed so the works had a more distinctive style. So I am trying to mix these pre-globalization images into new works. In your opinion, do you think that in order to create, we need to present two opposing things, or entirely different things, to create something new or unique? Often times, I find simplifying the image to be a way to create interesting artwork.

Normally, in my artistic practice, I would follow the strategy of presenting very different things but mixing them. In this show, I am trying to see how minimizing the visuals can be a strategy to create something unique. Tell us about painting that reinterprets history. How is it relevant to your background? I would say it is one of the key parts of my practice. Because I am so deeply engrossed in historical artwork. I, of course, am a big fan of contemporary artwork. But my real passion is classical artwork from around the world.

So for me thinking about history and how important images were to that time inspires my own painting practice.

Seeing With the Mind’s Eye: An Exploration of Visual Attention in Dynamic Scenes - Farahnaz Wick

Where did the images for the recent paintings come from? Beyond being an artist, I consider myself a lover of art and images. I am constantly going to exhibitions and scanning online museum collections.

Sometimes, certain images will catch my eye and I will keep it in the back of my mind about how I can incorporate those pieces into my future works. It is just a long process of research and figuring out the best way to make them my own. Is any color in your work symbolic? If yes, to what extent?

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Salary will be dependent upon qualifications and in accordance with the Faculty Salary Grid. All application materials are due in the Office of Academic Affairs by PM February 20, All qualified applicants are encouraged to apply; however, Canadian citizens and permanent residents will be given priority.

Early Modern Jesuit Arts and Jesuit Visual Culture

The University will seek permission from the applicant before contacting the referees. Please direct applications to: Dr. Artist applicants must be at least 18 years of age and reside in the United States to participate. Works must have been completed within the last two years. Work must reflect the theme of the show…tea bowls. All pieces must be for sale. In addition there will also be purchase awards.

Click here for more information and to download prospectus Tea Bowl National.


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