LORI NIX WORK

In this photo of an abandoned thrust theatre, the viewpoint is from the stage looking out onto three floors of audience seating. There are three floors; the ground floor has 2 walkways leading to 2 sets of white double panel doors. The walkways which are laid in red carpeting, are sandwiched between theatre seats which are a shade of purple. The walls are covered in red wallpaper with gold spiral shaped designs. The wallpaper is aged and pieces are pealing off. The walls are finished with a gold trimming and red drapes. The second and third floor are arranged in the same manner only there seems to be less seating available, however the 2 walk ways lead to the same design doors one on the left and the other on the right side. The ceiling of the 3 floors has dome shaped lights some seem to be lit and some are not. All the seats seem to be very old and a few are broken, all of the seats seemed to have turned from its original colors, there are dark stains and whites stains that may be from the crows that exist in every floor of this theatre, resting atop seats, mezzanines or flying near the ceiling. There are three small chandeliers with a big chandelier in the center, which has been transformed into a bird nest by all the black crows. The theatre has two balconies seating on each side walls. These private spaces are decorated with red drapes and gold trimmings that outline the white painted balcony.

This photo is being framed by blue stage curtains on both sides. The wooden stage is worn out and scuffed up. The stage has a wooden latter on the left side with 5 boxes stacked next to it. On the right hand side, a box lays next to an abandoned piano with a broken chandelier on top. Behind the curtains lies two third of a blue sign that says “Majestic”. In the center of the stage, a crow picks on the strings of a violin that has fallen apart.

Lori Nix’s painting is of an opera type theatre setting with three levels of seats. The view is from the back of the stage looking into the crowd. There is no one in the theatre. The empty seats are blue and the walls surrounding the theatre are red with vertical gold stripes separating them into large sections. The ceiling is red with large gold plates, and there are four large, crystal chandeliers hanging down. The stage appears almost bare with a ladder on the left and a shabby piano on the right. The wooden floor looks to be old and worn down. There are about fourteen crows around the theatre. There are about four flying near the ceiling and three on the stage floor. The emptiness of the theatre and the crows flying around give this painting a deserted feeling to it.

The artwork I will be describing is “Majestic” by Lori Nix. It’s a chromogenic print in the series Shades of the City. It is a picture of the inside of a large theatre from stage view. The theatre has three tiers and two box seats, all with blue seats and a red, blue and gold gilt designs on the fronts of the tiers and boxes. The box seats are framed by white ionic columns, one on each side that lead into an arch going over top of each box. The stage is done to look like blue grey plank board and is framed by a blue velvet looking curtain that matches the chairs. It is cluttered with boxes on either side of the stage, a ladder on the left and a piano with what looks like a broken chandelier on it on the right. There are four more crystal chandeliers hanging from the ceiling; a big one in the front and 3 smaller ones behind it of slightly different design. Also there is what looks like a raven sitting with a broken violin in the front middle of the stage. There are several more ravens all around the theatre. Three or four look to be strung from the ceiling. Two sit on the left box seat, one on a chair and one on the railing. One is inside the right box seat with one sitting on top of the arch. Tucked half way behind the right side curtain is an upturned sign which says Majestic on it.

Artist: Lori Nix -Majestic- from the series Shadows of the City, Chromatic Print 2006

This is a print with a view from the stage of an old, dusty, abandoned looking theatre. There are two balconies straight out in front and two opera box type seats to the left and right of the stage. The opera box seats have white, column, archways on the sides. There is one large chandelier and three smaller chandeliers behind it and one broken chandelier atop a grand piano with an overturned piano bench on the right of the stage. There is also a violin on the stage with a bird atop of it and a sideways majestic sign to the left of the stage behind the royal blue curtains. The theatre has red walls and red flower vine wallpaper and the seats and walls feature white and gold foil accents. There is missing paint chipping off of walls and doors, and even falling off of the ceiling. There are several birds in the theatre and they bluish purple chairs have bird poop on them.

“Majestic” by Lori Nix.

I really found the work eye catching and the colors really stood out. Overall, the piece seemed pretty straightforward when it comes to describing it, as well.The image shows the remains of an abandoned theater, with the point of view being from behind the stage, as if there was a window to look out into the audience. To begin with, the seats that sit the audience are royal blue and velvet. There are three columns of seats, the middle being twice as wide as the other surrounding it. The seats elevate as the rows go further back, and there are two aisles separating the columns. They are dark red, and lead twelve rows back, each ending with two double doors. The double doors are white with three gold squares going vertical on each door. The door on the left side is slightly opened, leading to a black room.

Above the “floor seating” as you may call it, are two balconies with extra seating., that go up three floors. However, each balcony is only seven rows back. The walls are red with gold paneling that is peeling off of the walls. One each side of the canvas, there are two wall balconies, that seem to sit first class guests if they were to attend a concert or play. These balconies have large corridor-like openings that have a few seats in them as well. White wood with gold lining surrounds the dome-like structures.

There is a large crystal chandelier hanging from the center of the ceiling, which hangs right in front of the tallest balcony. There are also three smaller chandeliers behind the large one. Each chandelier has candles that are emerging from it that make the crystals luminous. As for the stage, it is gray and dusty. In the left corner of the canvas (obviously backstage) there appears to be old boxes in a dark corner. There is an old dusty piano in the right corner of the stage, and this is the site of another chandelier that appears to have fallen from the ceiling. The piano bench has also fallen down with the seat toward the piano, complete with loose sheets of music on the floor surrounding it.

There are also ravens (or blackbirds) that cause a sort of darkness and sense of abandonment in the theater. There are three ravens actually on the stage. One is sitting on top of an old, dusty fiddle that is lying in the middle of the stage. There are two others which are more towards the right (in between the piano and the fiddle) that seem to be in conversation while facing each other. There is a ladder on the left hand of the stage with another raven sitting on top of it. There are also three ravens flying around the large chandelier.

Description of “Majestic” by Lori Nix

The piece, “Majestic” by Lori Nix, is a photograph of an old stage theater. The photo was taken on the stage facing out. The camera was at a slight angle facing to the left and was slightly higher seven foot off the floor.

The first thing you notice is the rich colors of the the theater. The walls are gilded with rich, fire engine red fabrics. The seating is a cool, calming, blue which compliments the overwhelming red.

There are three rows of seats on the first floor. Two on either side, hugging the walls and one in the center, which has a few more chairs than the other two rows. Above the first floor, are two balconies where more seats are located. The guarding walls are traced in red, the same red as the fabrics on the walls. The red, traces white rectangles, five in all, which ornate, gold decorations sit on. The third, top-most balcony, is slightly curved inward. Three crystal, chandeliers light and decorate it.

Looking at the stage, there are two royalty boxes on either side. A white archway cuts into the walls, opening up into the box seating. Looking closer at the stage, you see a ladder and a few multi-sized boxes on the left. On the right, an old piano, broken. On top of the piano, there is a chandelier, also broken. It may have fallen on the piano and smashed it. Gray, wooden floor, chipped and dusty with age. A hidden sign “Majestic” leans against the wall, peaking out behind a deep, rich, velvety blue stage curtain.

Everything about the theater is very ornate and regal. Yet, on closer inspection, the theater is a bit tattered and worn. It has been abandoned and not taken care of in a very long time. Then you start to notice that a family of crows has taken up residence. Several flying around the ceiling chandelier, larger than the ones on the third balcony and more ornate. A two more sitting on the middle seat of the fifth row. Another sitting on the ladder looking toward the one in center stage pecking at a broken violin. A piece of nostalgia.

Majestic-From Shadows of a City, by Lori Nix

This eye catching piece of work was gorgeous. It had the most vibrant colors of red, blue, and gold that just screamed beautiful. It kind of told a story of what used to be a very nice theater, that had beautiful crown molding around the ceilings and fronts of the balconies, that became run down or even abandoned. This was painted like you are on the stage looking out into the audience, with the curtains painted around the edges and the stage beneath your feet. The ladder and sign for out front laying on the stage symbolized that it needed work and was even shut down for some reason. As you are looking out on the stage and into the audience you see crows flying around and even perched on things, and that to me resembles the death and abandonment of the theater. The dust all over the stage and furniture also let you know that no one has been there for quit a while. Loris’ painting spoke so many words and you can tell that each person who looked at it got a different story and perspective out of it. I think that is what made it so beautiful, you were always wondering what had really happened.

I chose to describe the chromogenic print, Majestic by Lori Nix. Chromogenic printing is a when a photograph is developed as a silver image and then later dyed with colors. The picture shows an old run down theater that seems to have been taken over by crows. The walls of the theaters are a very bright red and the seats are all bright blue. The curtain along the border of the print is a very deep blue. It was mainly the colors that drew me to this piece. The observer seems to be on a stage looking towards where the audience would be. On the left hand side of the screen is weathered grand piano with a broken chandelier on top. In the middle of the stage is an old violin with a bird perched on it. On the right side there is a sign lying vertically that reads Majestic. The sign is old and seems to be tucked away backstage. On the left side of the stage there are some empty boxes lying in a pile. There is a beautiful chandelier hanging in the center of the theater. There are three small chandeliers hanging around the large chandelier. There is one light bulb lit in each of the smaller chandeliers. There are nine globe lights in the theater and two out of the nine are lit. There are three sets of double doors. One set of doors is closed and the other two are slightly cracked open. The wallpaper is ripping all over the theater and there is a hole in the wall of the balcony. There are birds flying all throughout the picture as well as perched on the chairs, chandeliers and stage. The birds have made nests in the theater and made it their own. The description next to the picture explains that Lori Nix was trying to show that in the fight between man made things and nature, nature will overcome. I think this idea is depicted very clearly in this painting. The birds have turned the theater into their home and the theater that is man made is in ruins.The Computer/shredder piece

On the top there is a white Lexmark printer which has about 20 pages of white paper in it. The front cover of the printer is missing, and there is a metal chute for the paper that goes into a black electric shredder. Between the shredder is a working Dell Desktop computer tower that has the case taken off, so you can see the inter-workings. Everything is plugged into a switchboard mounted on the wall next to the tower. Underneath the shredder is a roughly 18 inch tall pile of shredded paper from emails. So in the working process, the computer receives an email, prints it directly into a shredder that leaves a pile of paper strips collecting on the floor.

Spamtrap by Bill Shackelford

This real-life piece of art has its basis in the modern technological world. A standard off-white Lexmark printer, facing the audience, is bolted unto a wall. The pages printed are guided by a hand-made metal pieces which lead to the cross cuttings of a mechanical paper shredder without its bin. This black shredder is also attached to the wall, making up the bottom of the structure roughly three feet from the ground. The shredded paper then accumulates on the ground. A tan, Dell central processing unit is attached to the wall, under the printer, behind the paper guide, and above the shredder, with one of its two biggest panels removed and visible to the audience. The computer was programmed, through several highly spamable email addresses, to print each spam email through the Lexmark printer. The computer also stores the spams critical information to be used later by spam filtering programs and services. The entire structure is bolted to the wall with basic, thin, short regular and elbow-shaped steel beams with holes in them as well as with standard size nuts and bolts. The entire piece is connected to a mounted power strip directly to the left of the structure, which is connect to a power outlet in the wall below it.

Spamtrap by Bill Shackleford

The piece I chose was the computer that was mounted to the wall and designed to shred and blacklist spam e-mails. The computer itself was missing a side panel, so all of the inside circuitry was exposed. There was a wireless network card, a motherboard, a cooling fan, a hard drive, and two cd-rom drives. The computer itself was a beige color. It was a Dell PC and had a Pentium II processor. It also had a windows sticker on the front. It was mounted on the wall with aluminum bars. Above the computer sat a white Lexmark personal printer, also mounted to the wall with aluminum bars. The printer had a chute at the end that the finished prints came out that directed it to a black personal Fellowes shredder, which was also mounted to the wall with aluminum. The shredder sat under the PC. The printer used 81/2 x 11 in. recycled paper. There was also a large pile of shredded paper on the floor underneath of the piece. There was a power strip to the left of the piece where everything was plugged in.

Spamtrap by Bill Shackleford

Bill Shackelford’s “Spamtrap” is a technologically futuristic spam eliminating machine work of art. This floating system of printer, computer, and paper shredder not only looks striking but actually works. The first thing one notices is that there is nothing touching the ground except shredded paper. The printer is at the top about eight feet high and is on a gray metal shelf. The printer is a completely white metal and looks like the typical home desktop printer with the paper shooting out the top waiting to be printed. In the printer there are at least a hundred sheets of white printing paper. About eight inches below the printer shelf there was a vertical desktop computer. The computer is screwed against the wall with half inch metal screws. Since the cover of the computer is not on, the motherboard and wires are all visible as with the metal framing of the computer adding to the metal theme. Finally a few inches below the computer is another metal shelf similar to the printers with a paper shredder on it. The paper shredder is missing the basket completely. All that is there is the black top that actually does the shredding. At the top of the shredder are two metal strips that are 1 inch wide each, that take the paper that is printed straight down to the shredder to be shredded. There is a twenty four inch pile of white shredded paper on the ground directly below the paper shredder. There is also a surge protector on the left of the computer hanging from on the wall that has wires running from all three systems into it.

Two Phalluses and Big Toe"

The image "Two Phalluses and Big Toe" by Shannon Bell is a digital documentation of more than just the objects present in the picture, but the process as well.

Three objects are present in descending order from largest to smallest with the first being a plaster cast of a toe, then a mold to make an even smaller toe, and then the smallest toe made from the mold. These toes and molds are set on a somber gray background, and bring more focus and contrast to the white. The title of the work also raises a greater question as to which is the big toe, and which two are the phalli.

This work seems to represent the merging of parts of organs between the sexes, but also confusion amongst gender identification as well. The idea presented throughout as the actual growing of phalluses turns sex, or the means to sexual gratification, to art; or even a play on the practice of artistic production, and sexual reproduction.

"Two Phalluses and Big Toe" by Shannon Bell was very interesting. You really can't begin to understand what she was trying to do with the ceramic toes that she had and the mold to go with it until you read the mini biography on her work. Her artwork was displayed on a computer screen so I really couldn't get the full experience of it had it been physically right in front of me. The bigger of the two toes was on the top, then the mold from which it may have come from, and finally a smaller version of the big toe so that it formed a descending vertical line. It was very controversial because, as the biography told us, the artist started growing living male and female phalluses as living art and while doing this also grew a big toe as part of the project. All-in-all it's a really hard piece to understand and then therefore describe.

This particular piece of art is done a large canvas of paper. The structure represents to me an almost humanlike silhouette, but is more blocky and without extremities. The entire piece is done in a black ink pen, with thousands of lines crossing each other. This then forms the image of the block like “person.” The areas where the crossing of the lines I closer together and overlaps each other, gives a darker color and in a sense gives depth to image. The entire image has bilateral symmetry, as does a human, meaning if cut down the center it is a mirror image on each side. There is one large square in the middle of the blocky body, as if it were the abdomen of the body. Signs of many circular shapes that have been traced on to the canvas appear. As well as, structures that could possibly be a floor lamp with a “U” shaped globe, protrudes from the head area, and flag poles or round ended table legs the come out from the arms. On each corner there are tire marks, from a vertical aerial view, with real rubber tread marks inside them. This to me looks like a possible abstract view of someone being ran over by a car. Everything being flat but the image is enhanced with depth gives it a unique character. I also see maybe a mechanic working under a car, this giving an x-ray vision of him on the job. What ever it is or maybe its is noting and the artist was just going for anything, is a eye catching piece. The eye seems to follow all of the lines to see where it goes, what shape or image they create. Overall this is an interesting piece.

The base of this piece is a landscape photo of a wintry outdoor scene. The photo is dulled as if taken by a distorting filter. The background of the photo is comprised of a forest of gloomy, gray, trees. A fence meanders laterally though the middle of the print, before fading to black in the distance. A handful of barren, leafless, trees and a thin, barely noticeable, telephone pole line the side of the fence closest to the viewer. Moving along the fence, there is an old-fashioned sign that seems at home in its countryside setting. The artist has gone over the piece with digitally made lines of thick black ink. The lines appear in a grid that reveals changes in elevation of the landscape. From the perspective of the viewer, the gridlines create the sense that the whole scene is moving uphill. The outlines of the fence and select parts of the trees also have been covered by the same thick black ink. Because of the blurriness of the photo, it is possible (but hard to tell) if some of the trees are part of the original photo or not.

Student contributors: Bobby, Jeremy, Autumn, Ben, Greg, Brent, Lily, Qiannan, Dan, Brittany, Travis, Krissy, Jessica, Cassie, Krista, Justin, Don, Shannon, Billy, Amy, Kyle