Kyle Kopta DTC

   The following is a list of artists of many different mediums that I have drawn inspiration from throughout my life. I felt the need to create this list in the first place because I thought it might be interesting to reference and that it might reveal some of the subconscious ideas in my head behind why I do things the way that I do in my work. Although it is important to be original in what you do, it is also important to acknowledge that you are the product of what you see and what you admire. As artists continue to inspire me, I add them to the list. I have separated the artists by medium.     Photographers Nan Goldin Steve Roe Philip Lorca DiCorcia Daniel Mercadante Erin S. Murray Gabriel Isak Joshua Aronson Tanner Abel Platon     Video Directors Damien Chazelle Stanley Kubrick Titanic Sinclair John Hughes François Truffaut Hayao Miyazaki Spike Jonze Alejandro Jodorowsky     Traditional Artists Egon Shield Nikinikill Jean-Michel Basquiat  

   This section of the book discusses the internet and its inherent relationship with art that involves the active participation of the viewer. At the time of this book's publication, the internet and its unique culture was certainly not what we know it to be today, but we can see the inception of humorous and satirical internet art projects that one is used to seeing online now through groups like ®TMARK. Video games and the continual popularity of virtual reality projects is what one might think of in terms of internet art with user participation today, but at what point do these participatory art forms become less about the art in collaboration and more about being a pastime and a way to turn off the brain for a while?    One could always make the argument that video games, movies, and the latest virtual reality experiences exist as a means for escapism. Furthermore, all art has the capacity to provide escapism both to the artist and the viewer. However, the typical person tod

   This section of the book discusses the idea of computer art and its identity as a technology-driven medium. As is the case with other art forms reliant on technology, computer art has evolved as the technology behind it has evolved. As the medium itself changes, artists are able to express their visions in new and exciting ways. Furthermore, the increased availability of the personal computer since the 1980s has allowed for the flourishing and democratization of digital art as a whole (similarly to the rising popularity of personal video cameras prior).   What I found most interesting in this section was the idea of cinema and its relationship to its increasingly digital medium. As digital video becomes the norm in the film industry, the raw footage that a camera captures has become functional primarily as a raw material through which the artist edits and sculpts into the final product; similar to a sculptor, the raw images taken by a camera become comparable to marble that the d

   This is my storyboard for the stop motion project. As I was brainstorming ideas for this project, I thought about the parts of my daily life that incorporate a lot of motion that I could capture. I listen to records every night, and I thought the process of putting a record on the turntable had some potential for interesting motion to play with. My plan is to use music in my video to push the story forward as well. A song will play throughout the video, but it will sound muffled and far away. Once the needle hits the record, the song will become clear and transition into the credits or title card. Please let me know your thoughts and suggestions!

   Art is the total event. As the definition and parameters for what constituted art evolved through artistic movements like those of Fluxus and Futurists, artists began to measure the artistic value of their work in terms of the totality of its noise, subject, process, and psychology. Especially regarding multimedia art, the physical and literally-observable characteristics of an art piece (or installation in this case) were not as important as the ideas behind the art. This, along with the prevalence of viewer participation and unconventional presentation practices in early video installation art, solidified the idea of art being an event that has a context in its surroundings.     This section of the book really inspires me to experiment with the way in which I present my work to the world. Up until now, the only way my work has been shown is through the means of a frame hanging on the wall or on a projector for critique. Inversely, artists like Julia Scher create an elaborate se