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marginalia

In any endeavor often the most important and interesting things are found in the margins. Our capacity to plan and be directed also leads to recognizing only that which we already know about over what we don't know about, and choosing what we like over what we don't like. There are limitations to only noticing what follows the plan.

Consequently, it is important whenever possible to take a moment or two to look at the scraps and pieces not central to the plan. I recall that Teresa made a comment in an early discussion and how several remarked that this was important. But it got dropped. So here we have this space to at least track the stuff that ends up at the edge or on the floor. I think Kevin's recent comment on the Cha. 4 page might be subject to the same fate so I suggest that both of those be entered here on this index of marginalia. Then if we wish to develop them further we can start individual pages for that. -paul

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I probably should have just put this as a pblog, but I feel this is directly related to the chapter. After our discussion about chapter four I am left with a question. We talked about reproductions of real objects/images. As artist now is there a way for us to take control of the situation of our 'work' being reproduced without our consent? Should we find a way to incorporate ideas of presentation/production into the process of our work. An idea that comes to mind is having our work turned into just dumb products like the ever-so-popular coffee mug. Can this be the end product. I'm not thinking of this as a means to make money, just find a way to regulate an idea of ownership of an image. I am questioning this notion for my own studio practice. I would really enjoy exploring this topic more than we did in class. Please let me know your oponions or ideas!
Thanks Kevin Mault

(I have to say I like the idea of having a page just for leftovers!!)

In regards to the question I asked.... I have really been talking with others about how I want to present some of my images to viewers. What is the best medium to use to get my point across comes to mind. I have been giving much thought to the idea of how I want my work to be seen... the typical/ideal setting. There is something that bothers me about having a piece of work that is sold (although I hope to do this as well) leaving others without the work. I'm thinking about turning my drawings strictly into posters. For me I think that it would work best for me to reach out to people with my work. The largest downfall of what it is that we do is that those of us who really want to get our work out to the world are unable to do so in a cost effective manner. I think it was Teresa that said something about this in class. We want to do this, but doing it free how do we survive? For my own studio practice that I will shortly become free of the restraints of GVSU, I have been trying to develope a means to survive economically as well as artisticly. It seems to me that 'turning' my drawings into a different object by printing off digital copies is an excelent way for me to do everything that I want to do. It also allows my work to be 'affordable' to many people and 'owned' by more than one person. For my senior show I hope and plan to have both available to people to buy if they want to. I am eager to find out which method works the best at reaching my viewers.
Kevin Mault

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Hey, Stephanie mentions a friend who is replicating her work in inexpensive and accessible ways in PoL4 Stephanie Behning.

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Institution and Brazilian Psychedelia So, I think this is counter-bricolage... especially since they were talking to a Minister of Culture. rock.

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