#tarynsimon

[gravekilla69]

Week 11: Connecting CTS A to my other modules (Word Count: 328)

Connecting CTS A to my modules has solidified the role of critical thinking in my design journey. In Studio, CTS A’s structured analysis has enhanced my approach to visual thinking, allowing me to create marks and images that are both expressive and contextually relevant. The research frameworks taught in CTS A—like considering multiple perspectives and questioning assumptions—have informed my approach to using quotations and sources effectively, deepening the quality of my research (Lai). CTS A’s focus on the interplay between form and meaning aligns with Typo Sensory, where understanding the emotional weight of type has improved my ability to craft typography that resonates emotionally (Lai). Additionally, CTS A’s emphasis on analysing relationships between elements has influenced my work in Type and Language by improving my layout skills and enhancing the cohesion between visual components (Facione). In Hollywood Bling, applying critical thought has helped me plan and execute rotoscoping tasks with attention to detail and innovation. The Data Space component has particularly benefited, as CTS A’s lessons on systematic research have made my approach to narrative classification more robust and nuanced (Goleman).

In Craft Workshop under D-CE102, CTS A has guided my approach to mark-making, where I strategically use dots, lines, and patterns to create dynamic compositions. Understanding colour theory through a critical lens has improved my palette selections, making my designs more intentional. The analysis of positive and negative space in CTS A has sharpened my ability to create balanced, high-contrast work. Abstraction and synthesising form, colour, and text are more impactful due to my ability to deconstruct and rebuild visuals meaningfully (Goleman).

In Photography, CTS A has informed my understanding of composition and narrative, making my photos not just technically sound but conceptually engaging. Principles such as balance and perspective are now applied with deeper consideration, connecting intent with outcome. The ability to evaluate and question my work aligns with CTS A’s approach and supports my storytelling through photographs (Lai).

For Digital Skills and Applications, the critical thinking habits from CTS A have enhanced my ability to navigate Illustrator, Premiere Pro, and Photoshop with a thoughtful mindset, balancing creative freedom with structured problem-solving. In rotoscoping and using InDesign, I approach tasks with clearer strategies and adaptability (Schoeberlein and Sheth).

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Works Cited:

Facione, Peter A. Critical Thinking: What It Is and Why It Counts. Insight Assessment, 2011.

Goleman, Daniel. Emotional Intelligence: Why It Can Matter More Than IQ. Bantam Books, 1995.

Lai, Emily R. Critical Thinking: A Literature Review. Pearson Research Reports, 2011.

Schoeberlein, Deborah, and Suki Sheth. Mindful Teaching and Teaching Mindfulness: A Guide for Anyone Who Teaches Anything. Wisdom Publications, 2009.

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Contraband, Helsinki City Art Museum, Helsinki, 2012 - Taryn Simon

A Living Man Declared Dead and Other Chapters I – XVIII, Neue Nationalgalerie, Berlin, 2011 - Taryn Simon

[bm-contemporary-art]

Paperwork and the Will of Capital, Press XL, Taryn Simon, 2015, Brooklyn Museum: Contemporary Art

Size: 44 15/16 × 22 × 30 in. (114.1 × 55.9 × 76.2 cm) Medium: Pigmented concrete press, dried plant specimens, inkjet prints, herbarium paper, and steel

https://www.brooklynmuseum.org/opencollection/objects/224301

[artbookdap]

This. Is. Hot. #Repost @cahiersdart ・・・ Cahiers d’Art recently published ‘The Color of a Flea’s Eye: The Picture Collection’, a project Taryn Simon has worked on for almost a decade. The book, printed on a variety of unique papers, features Simon’s ‘Picture Collection’ series, created from the famous collection of images held at the New York Public Library. Taryn is now showing in ‘Measure Your Existence’ at the Rubin Museum of Art, curated by Christine Starkman. ‘Measure Your Existence’ questions and expands the Buddhist concept of impermanence and the fleeting nature of existence through artworks by six contemporary artists who explore duration, survival, memory, fate, history, loss, disappearance, and reappearance. For the exhibition, Simon presents chapter XIV of her series ‘A Living Man Declared Dead and Other Chapters’. The series is a photographic installation comprising 18 chapters, each tracing one bloodline over 3 segments. Simon’s presentation explores the struggle to determine codes and patterns embedded in the narratives she documents, making them recognisable as variations (versions, renderings, adaptations) of archetypal episodes from the present, past, and future. In contrast to the methodical ordering of a bloodline, the central elements of the stories – violence, resilience, corruption, and survival – disorient the highly structured appearance of the work. ‘A Living Man Declared Dead and Other Chapters’ highlights the space between text and image, absence and presence, and order and disorder. Shop ‘The Color of a Flea’s Eye: The Picture Collection’ - the artist’s latest body of work - by tapping the link in our bio. 📷 Gaëtane Girard [5-7] / Copyright and courtesy the artist, Gagosian, New York / Los Angeles / London / Paris / Geneva / Basel / Rome / Athens / Hong Kong, and Almine Rech, Paris / Brussels / London / New York / Shanghai @rubinmuseum @staffanahrenberg #tarynsimon #alivingmandeclareddeadandotherchapters #photography #therubin #rubinmuseum #rubinmuseumofart #therubinmuseumofart #exhibition #measureyourexistence #thecolorofafleaseye #nypl #newyorkpubliclibrary #thepicturecollection #nyplpicturecolle https://www.instagram.com/p/CKU6f9-pAxu/?igshid=1xfhtzms1zt74

[jpmyskowski]

As real winter comes on, a little throw back to the synthetic. #MassMOCA @massmoca Taryn Simon’s “A Cold Hole” with child. #tarynsimon #acoldhole #museums #museumlife #northadams #westernmass #northcounty #413 #662 #performanceart #frozen #ice #iceplunge #lightroommobile @lightroom #iphone (at North Adams, Massachusetts) https://www.instagram.com/p/B5ByPN2nqiK/?igshid=r49dxcpvjhn

[gagosiangallery]

"These flowers sat between powerful men as they signed agreements designed to influence the fate of the world." —Taryn Simon Taryn Simon's "Paperwork and the Will of Capital" opens tomorrow, February 27, 7–9PM EET at Gagosian Athens. http://fal.cn/4yfR

[morganmccaskiecogc]

The Power of Words

Jim Goldberg (Raised by Wolves)

The words an images in this book make me feel lost and confused. There is so much going on within each page and it is quite chaotic and crowded.

I think if this book had a 'traditional layout' it would not be anywhere near as effective in portraying the chaos and struggles in the lives of the people photographed.

I think Goldberg was trying to deliver a message about the difficulties and hardships in life and he used this book as a way to do that. He is showing the people and their lives in snapshot moments but these images are emotive and make the viewer think about the person and their circumstance.

Personally, I don't think the book needs the text because the images really make a strong point. However, I think the clever use of the text and images help highlight the issue further and cause even more of an impact than the photographs can alone.

Taryn Simon

The layout of this book is clean, minimalistic, simplistic and very aesthetically pleasing.

I think the layout works incredibly well here. The basic, attractive layout of the text goes very well with the simplicity and the use of negative space in the images.

Looking at her book, I think Taryn Simon is trying to use images and text which are generally opposites or contrasting to raise awareness about the topics she chooses.

This book differs from Goldberg's in every way. It is simple, clean and minimalistic compared to crowded, chaotic and messy.

[whatisitworth-signori-lenzin]

Taryn Simon: Serpent Handler - Edwina Church of God in Jesus Christ’s Name, Newport, Tennessee. Image: An American Index of the Hidden and Unfamiliar.

[barbaradiener]

Leonard Cohen exhibition @thejewishmuseum So good! #leonardcohen #tarynsimon #jonrafman #candicebreitz #karablake #acrackineverything (at The Jewish Museum) https://www.instagram.com/p/B14L_M7AZNS/?igshid=b4o1trt0u40z

[louiedespres]

The image which kicked off the show at the @sprinkler_factory. From the "fifty" series, "at Mass MoCA, 10/12/18". @massmoca #itspronounceddaypray #photographer #photography #Worcester #worcesterma #worcesterarts #massmoca #moca #northadams #northadamsma #acoldhole #tarynsimon https://www.instagram.com/p/B0JS-5knnCo/?igshid=1nvgjqk0zg5mz

[hannahmatthewswestminster]

taryn simon

i did some research into this photographer who was mentioned in our induction slideshow for this project. I found this particular project so interesting as the aim of it was to represent how the criminal justice system had failed to recognise the limitations of relying on photographic images. This very concept could link to my essay question of ‘memory’ and how memory links to the idea of photography. How we use images as an extension of our memory.. and how the justice system relies on visual memory, but through exposure to composite sketches, mugshots, polaroids and lineups, eyewitness’ memory can change

this project ‘the innocents’ is a collection of documentary photographs of individuals who served time in prison for a violent crime they did not commit, questioning photography’s function as a credible eyewitness. The places in which these individuals were photographed had particular significance to their conviction: the scene of misidentification, the scene of arrest, the scene of the crime, or the scene of the alibi

‘photography offered the criminal justice system a tool that transformed innocent citizens into criminal’

these photographs are a strong visual representation of just how powerful photography can be in highlighting issues that exist amongst us and throughout our society, using a visual documentary narrative to do so. The strong concept behind these images aren’t the only thing that makes them so powerful, the way these images are constructed to tell a narrative is intriguing, even the emphasis on the location these individuals are photographed in, draws you in. The use of lighting is also so slick. This work helps inspire me on how truly to create a constant narrative through a particular project

[shulmansays]

One of my favorite events, each spring, the annual #ArtAuction benefiting @FreeArtsNYC raises much needed funds for the #MentoringPrograms it provides to #AtRisk kids and teens - so, SAVE THE DATE: April 26th! #GetIntoIt #FreeArtsNYC #18thAnnualArtAuction #TarynSimon #SaveTheDate #DoItForTheKids #Art (at Free Arts NYC)

[davidhopwood]

#pamphlet #tarynsimon #flowers

[artbookdap]

One of the coolest under-the-radar NYC shows all year, and maybe of all time, 'Taryn Simon: The Color of a Flea’s Eye (The Picture Collection)' is on view through May 15, 2022. The exhibition catalog from @cahiersdart is suitably amazing. It presents a history of the @nyplpicturecollection — a legendary trove of more than 1 million prints, photographs, postcards, posters & images from disused books and periodicals. Since its inception in 1915, the Picture Collection has been a vital resource for writers, historians, artists, filmmakers, fashion designers and advertising agencies. Simon highlights the impulse to organize visual information, and points to the invisible hands behind seemingly neutral systems of image gathering. Each of her photos is made up of an array of images selected from a given subject folder, such as Chiaroscuro, Handshaking, Haircombing, Express Highways, Financial Panics, Israel & Beards and Mustaches. In artfully overlapped compositions, only slices of the individual images are visible, each fragment suggesting its whole. Simon sees this extensive archive of images as the precursor to internet search engines. Such an unlikely futurity in the past is at the core of the Picture Collection. The digital is foreshadowed in the analogue, at the same time that history—its classifications, its contents—seems the stuff of projection. Simon spent years sifting through letters, memos and records that reveal an untold story between the library and artists, media, government and a broader public. These documents also divulge the removal and transfer of photographs from the democratically circulating picture-collection folders to the photography collection in the late 1980s when their marketplace value became apparent. Simon’s selection of photographs from these transfers highlights gender, immigration, race and economy in America alongside the technical development of photography. Produced in direct collaboration with the artist, the book contains 57 individually hand tipped-in plates, numerous gatefolds and a variety of unique papers, as well as essays by @joshuachuang @nypl & @timgriffinnyc More via linkinbio. #tarynsimon #colorofafleaseye https://www.instagram.com/p/CYheo7mp3FR/?utm_medium=tumblr

[spaceyjacy]

Thinking on Taryn Simon’s ‘A Cold Hole’ today at Mass MoCA. I’ve never wanted to leap into ice before but now it’s all I can think about. #tarynsimon #massmoca #icebath (at MASS MoCA) https://www.instagram.com/p/BnXdytjBmmU/?utm_source=ig_tumblr_share&igshid=fgp9cghiq5ce

[gagosiangallery]

"Le Mois de la Photo à Montréal" at the MAC Musée d'art contemporain de Montréal, Canada, closes this Saturday, October 14. Drawing on the theme "What Does the Image Stand For?," this biennial probes the concept of photographic evidence in all its guises. It features works that question the status of the photograph as a recording of the real, and examines the fantastical and sublimated character of reality. Work by Taryn Simon is included. The museum will also present additional works from her series Paperwork and the Will of Capital on the occasion of the biennial. http://fal.cn/tOnR

[scavengeraesthetic]

My Heart at #massmoca #tarynsimon #coldhole https://www.instagram.com/p/BnR6i0XHoJH/?utm_source=ig_tumblr_share&igshid=6papsfo7oau0