Week 5: Space + Art

For the past couple of weeks, the recurring theme of art and science as two overlapping spheres of study grew more and more apparent with all the new forms of technological collaborations from artificial intelligence to biotechnology to neuroscience to nanotechnology.

Information technology, cognitive science, biomedical engineering, and many other fields of emerging technologies are generating unimaginable scenarios that seem to explore far beyond the comprehendible boundaries of our world. Art, on the other hand, was in a steady process of advancement following various art movements in the 1960s, but seems to have leveled out in the recent years. So many may ask, is art actually getting closer to science? Is art simply a passing fad? Or will it ever catch up to the relentless growth of science?

While scientists strive to understand the intricacies of the world’s structures, artists endeavor to expose the deeper implications of the scientific advancement and most importantly, seek the shape new paradigms. In this respect, art is not only close to science and growing closer each day, but is also complementary and indispensable to the growth of science. Just as Buckminster Fuller once said, “The further art advances, the closer it approaches science; the further science advances, the closer it approaches art.”

 [Buckminster Fuller]

In addition to previously mentioned focuses of science, space science is another commonly researched field that greatly benefits from the invaluable tools of art education and art application. Studies demonstrate that art plays a critical role in enhancing STEM (science, technology, engineering, and math) and ultimately in understanding it. In psychology terms, such a collaboration of studies forces both hemispheres of the brain to coalesce, fostering the rapid development of creative and critical thinking, problem solving, and communication skills. Few can dispute that art, in its many diverse forms, enhances understanding, provides unparalleled insight and imagination, and builds an emotional connection from artist to audience. With much of the general public largely indifferent at best to space exploration, understanding the quintessential, synergistic role art can play in inspiring society well outside the narrow niche of the space field can go a long way towards generating broader interest and support for space explorations across the board. As author of A Man on the Moon, Andrew Chaikin, said, “Art was one of the things that made space exploration a cultural event. It was very much part of the way we as a culture experienced space exploration, even aside from the photographs, because it was really the art that conveyed the excitement.”

["A decade in the making, this book is based on hundreds of hours of in-depth interviews with each of the twenty-four moon voyagers, as well as those who contributed their brain power, training and teamwork on Earth."]

One quality astronauts, scientists, and artist have in common is the inclination to explore, whether by means of a mission to the moon, scientific inquiry, or a canvas and paint. These works of art provide a historical legacy for the public to behold. In hopes of maintaining these moments, many museums specific to the history of space ventures were created. One of the most famous museums today is the National Air and Space Museum of the Smithsonian Institution, which was established in 1946. It currently holds the largest collection of historic aircraft and spacecraft in the world, and is also a center for research of the history and science behind aviation, spaceflight, planetary science, and terrestrial geology. Another attempt of recording the history of space exploration through the eyes of artists is the NASA Art Program, which was established in 1962. The inception of this program was encouraged by the idea that space art would help educate people about NASA and its mission—and to recreate some of the magic of space exploration that photographs simply cannot capture. Without museums like National Air and Space Museum and programs like NASA Art Program, many of Earth’s historic triumphs and pioneering legacies—such as moon landings, rocket launches, planetary explorations, and even tragic accidents—would be unknown to millions.

[Astronaut display in the National Air and Space Museum]

[Art prints from the NASA Art Program]

Works Cited

Picture Credits

http://cumbriansky.wordpress.com/2009/06/11/apollo-the-anniversary-approaches/

http://mightymega.com/2013/10/05/terrific-nasa-space-program-art-prints/

http://www.theutopian.net/2013/09/19/r-buckminster-fullers-egocide/

http://capitolescapes.com/the-air-space-museum/

Source Credits

K, Paul. "Re: Space Age Art." Web log comment. BibliOdyssey. Blogspot, 12 June 2012. Web. <http://bibliodyssey.blogspot.com/2012/06/space-age-art.html>.

Vesna, Victoria. "Introduction to Buckminster Fuller." Buckminster Fuller Institute. N.p., n.d. Web. <http%3A%2F%2Fbfi.org%2Fabout-fuller%2Fbiography%2Fintroduction-buckminster-fuller>.

Dunbar, Brian. "The NASA Art Program." NASA. N.p., 12 Apr. 2013. Web. <http://www.nasa.gov/connect/artspace/creative_works/feature-inception.html>. 

Week 5: Nanoscience + Art

Nanoscience is a quickly developing field of research that brings together many different aspects of life, and benefits from an interdisciplinary approach. Because of this, it is expected to lead to countless innovations and advancements that can contribute towards addressing many problems facing today’s society. Even the global market is assimilating this technology into an array of products. However, regardless of nanotechnology’s widespread prevalence, many customers, if not most, are unaware of its influences and brush it off as a mere figment of science fiction. We don’t realize we are exposed to nanoparticles in our daily lives, not only through airborne pollution, but also by means of the products we use every day.

Though it is commonly under-recognized, nanoparticles are used in many fields today. Nanoparticle applications in the Manufacturing sector include (1) silver nanoparticles in fabric which are used to kill bacteria, making clothing odor-resistant and (2) zinc oxide nanoparticles which can be dispersed in industrial coatings to protect wood, plastic, and textiles from UV ray exposure. Current applications of nanoparticles in the Environment sector include (1) gold nanoparticles which are embedded in porous manganese oxide as a room temperature catalyst to breakdown volatile organic pollutants suspended in the air and (2) iron nanoparticles which are used to clean up carbon tetrachloride pollution in our ground water. Nanoparticles can also be applied to the field of Energy and Electronics, as seen with silicon nanoparticles, which are used to coat anodes of lithium-ion batteries to increase battery power and reduce recharge time.

Without a doubt, nanotechnology has the potential to profoundly change our economy and to improve our standard of living, similar to the impact information technology has had in the past two decades. The link below (along with the picture) is an example of how nanotechnology can reframe the future for human life. It’s fascinating to see that nanotechnology is powerful enough to transform the biology of humans!

http://www.keithley.com/knowledgecenter/How-Nanotechnology-Could-Reengineer-Us

[The image and link above shows what scientists presume will be the future of nanotechnology in biology contexts. When I first heard of nanotechnology, I never linked it to the human body, but when I found this diagram, I was surprised to see how closely related the two studies of science can be.] 

Nanotechnology is an inescapable part of everyday life. Many things we’ve been using for a long time, like the laser in DVD players, contain nano-size components. It’s just, most of the time it goes unnoticed. On the whole, people aren’t very aware of the nanotechnology integrated into the world around them, but if you stretch out an arm, you’ll almost certainly be able to grab something that employs this technology.

https://www.youtube.com/watch?v=-mvrqFvNTIY

[In this video, water droplets smash into bits and rearrange themselves, but still retain their perfect shape when coming into contact with the superhydrophobic surface because of the nanoparticle-based surface.]

Aside form all the real-life applications nanotechnology currently has, can science also produce advancements in art? Nanotechnology, when combined with art, most certainly can produce remarkable, breathtaking outcomes. NanoArt is a reflection of the technological movement, featuring nanolandscapes and nanosculptures of all sorts. For example, Arizona State Engineers have combined the art form of origami with nanotechnology to construct improved battery technologies.

https://asunews.asu.edu/20131022-chan-lithium-ion-batteries

[This article is about how Arizona State University engineers were able to improve the design of batteries by integrating art to their research.]

http://www.rsc.org/Publishing/ChemScience/Volume/2010/08/Preserving_art.asp

[As told in the journal article above, which was taken from the 2010 volume of Highlights in Chemical Science, Italian scientists from the University of Florence have come up with a solution to art preservation by utilizing nanotechnology. They developed a nanofluid-based formulation and cleaning mechanism, in which a micellar system of nanosize spheres are formed to provide a protective barrier for artworks.]

Art and nanotechnology also come together with DNA sculpting and origami. Nano-origami, such as DNA origami, gives nanotechnologists hope that this technology and technique will lend a helping hand in producing working devices for the future.

http://scienceblogs.com/notrocketscience/2009/05/20/dna-sculpture-and-origami-a-meeting-of-art-and-nanotechnol/

Lastly, scientists use electron microscopes to capture images of nano-sized landscapes and then colorize them with digital photography software in order to create pieces of art. Because NanoArt is virtually inaccessible to the average person, nanoartist Cris Orfrescu holds the NanoArt Exhibition every year to share the extraordinary beauty of the nano-world.

http://news.discovery.com/tech/scientists-artists-nanoart-exhibition-111109.htm

["Plasticity in Steel Micro-pillars" by Siddhardtha Pathak -- Pathak's inspiration of capturing images of steel comes from testing mechanical forces at the submicron scales. This submission won him 1st place.]

Many technologies in the modern world rely on nanostructures, often inspired by evolution in the natural world. But there is much untapped potential left to explore. Products of nanotechnology are capable of changing the world because the scale of it allows for unique interactions among atoms and their constituent parts. Practically every week, scientists announce a new breakthrough in the ability of nanoparticles to deliver genes, drugs, or chemical messengers inside cells. Every week, new breakthroughs in the fields of electrochromics, natural science, and physics are announced, claiming drastic improvements in our daily lives. So what is the future for nanotechnology? The possibilities seem endless. Though nanotechnology undeniably has made great changes in our world, its best is yet to come.

Works Cited

"How Nanotechnology Could Reengineer Us." Keithley: A Tektronix Company. Keithley Instruments Inc., n.d. Web. <http://www.keithley.com/knowledgecenter/How-Nanotechnology-Could-Reengineer-Us>.

How To Make Water Bounce. Youtube. GE Research, 13 Nov. 2008. Web. <https://www.youtube.com/watch?v=-mvrqFvNTIY>.

Vesna, Victoria, and Jim Gimzewski. "The Nanomeme Syndrome: Blurring of Fact & Fiction in the Construction of a New Science." Thesis. UCLA, 2003. UCLA Arts. Web. <http://vv.arts.ucla.edu/publications/publications/02-03/JV_nano/JV_nano_artF5VG.htm>.

Kullman, Joe. "Art Form, Nanotechnology Combine to Advance Batteries."Arizona State University News: Science & Tech. Extremetech.com, 22 Oct. 2013. Web. <https://asunews.asu.edu/20131022-chan-lithium-ion-batteries>.

Camara-Campos, Amaya. "Preserving Art at the Nanoscale." Royal Society of Chemistry. RSC Publishing, 7 July 2010. Web. <http://www.rsc.org/Publishing/ChemScience/Volume/2010/08/Preserving_art.asp>.

Yong, Ed. "DNA Sculpture and Origami – a Meeting of Art and Nanotechnology." Science Blogs: Not Exactly Rocket Science. N.p., 20 May 2009. Web. <http://scienceblogs.com/notrocketscience/2009/05/20/dna-sculpture-and-origami-a-meeting-of-art-and-nanotechnol/>.

Tranquilin, Ricardo. "Extraordinary Beauty of the NanoArt World: Photos : DNews." DNews. N.p., 12 Dec. 2012. Web. <http://news.discovery.com/tech/scientists-artists-nanoart-exhibition-111109.htm>. 

Week 4: Neuroscience + Art

While reading this week’s article on Neuroculture written by Giovanni Frazzetto and Suzanne Anker, I was drawn to the new sub-discipline “neuroaesthetics.” Neuroaesthetics is a new field of research emerging at the intersection of neuroscience and psychological aesthetics, mainly to characterize the neurobiological foundations of the cognition involved in aesthetic experience and engagement. Right off the bat, we are able to see a link between the two fields of study (of art and neuroscience) and how it is currently being merged for further understanding of the human behavior. This field seeks the neural correlates of artistic judgment and artistic creation. Although neuroaesthetics is still in its infancy compared to other widely sought disciplines, it can help pinpoint the origin of the human response through the use of brain imaging and proper mapping of brain circuitry.

Neuroscience carries promises of revealing the underpinnings of our individuality and personality, consciousness, the way we make decisions, and our socio-psychological interactions. As Semir Zeki, a neuroscientist at University College London, likes to say, “Art is governed by the laws of the brain. It is brains that see art and it is brains that make art.” An example that perfectly depicts how the brain sees art and catches our attention is the visual illusions that strike the mind when observing the famous Italian painting, Mona Lisa. This iconic painting has caused confusion in a lot of viewers because of her seemingly vanishing smile. Leonardo Da Vinci gave her facial expression a dynamic quality by playing with a discrepancy that exists in our vision system. The human visual system is organized such that the center of gaze is specialized for small, detailed things, while the peripheral vision has a lower resolution. As Harvard Medical School’s neuroscientist Margaret Livingstone deconstructed, the smile is more apparent in peripheral vision than foveal vision. In other words, when looking directly at the mouth, she appears to smile less than when you’re staring into her eyes. When you look away from her mouth, your peripheral visual system picks up shadows from her cheeks that appear to extend the smile. Moreover, an American neuroscience team also suggested that random noise in the path from retina to visual cortex determines whether we see a smile or not.

[The Mona Lisa by Leonardo da Vinci]

Aside from how the brain processes an image based on the visual retina transmission, artists have also frequently experimented with mind-altering substances to determine whether they enhance or diminish creativity. One of the craziest experiments, conducted by artist Bryan Lewis Saunders, involved him taking a different drug every day and creating a self-portrait of himself while under the influence of these drugs in attempt to experience how his perception of self can change. Inevitably, he suffered brain damage, but he is still conducting this experiment—just over greater lapses of time to allow for even the slightest of recovery.

[Examples of his self-portraits while under the influence of drugs -- really interesting right?]

[The link below is the link to artist Bryan Lewis Saunders' website. He is a performance artist and performance poet known for his disturbing spoken word rants, tragic art performances and stand up tragedy, so it was intriguing to look through his website.]

http://bryanlewissaunders.org/

["Near Death Experience" is a video Saunders created with over 3,000 of his self-portraits to piece together moments of his life. He intentionally pieces together self-portraits demonstrating pain and anxiety to convey and image of "Hell". It is mildly disturbing to see how drug plays a huge role in perception, but at the same time, seeing these under the influence self-portraits is mind-blowing.]

[The link below is another example of an artist taking drugs to experiment with perception and how drugs alter brain activity. This artist chose to remain anonymous, but the video and time stamps of drug influence are thought-provoking.]

Artist Draws Nine Portraits on LSD During 1950s Research Experiment

[Lastly, I came across this work written by a professor of UCLA, Dahlia W. Zaidel. The book itself (which contains her chapter), The Aesthetic Mind is a phenomenal read. I was fortunate enough to catch a portion of while taking a Psychology class. It, along with Professor Zaidel's addition, breaks new ground in bringing together empirical sciences and philosophy to enhance our understanding of aesthetics and the art experience. The pdf below in particular covers a broad spectrum of focuses: peripheral sensory influences, brain aesthetic sensations, brain damage effects in artists, biological motivations in art production, and evolutionary cognitive and neurological changes.]

http://dwz.psych.ucla.edu/DWZaidelAestheticMind.pdf

The questions that neuroscience is attempting to answer have engaged artists and scholars since the time of ancient thought. While neuroscience continues to reveal the riddles of the brain and mind, the arts will continue to portray and interpret neuroscience findings and engage the general public because art provokes thought and imagination.

Works Cited

Frazzetto, Giovanni, and Suzanne Anker. "Science and Society - PERSPECTIVES." Neuroculture 10 (2009): 815-21. Nature Reviews. Macmillan Publishers, Nov. 2009. Web.

http://bryanlewissaunders.org/

Colman, Dan. "Artist Draws Nine Portraits on LSD During 1950s Research Experiment." (n.d.): n. pag. Open Culture. 15 Oct. 2013. Web. <http://www.openculture.com/2013/10/artist-draws-nine-portraits-on-lsd-during-1950s-research-experiment.html>.

Near Death Experience. Dir. Bryan Lewish Saunders. Perf. Bryan Lewis Saunders. Vimeo. N.p., 2011. Web. <http://vimeo.com/19566969>.

Schellekens, Elisabeth, and Peter Goldie. "3. Neuroscience, Biology, and Brain Evolution in Visual Art." The Aesthetic Mind: Philosophy and Psychology. Oxford: Oxford UP, 2011. 44-53. Print.

Week 4: BioTech + Art

What exactly is biotechnology? At its simplest, biotechnology is technology that harnesses biological processes to acquire new skills that better our lives. But what happens when biotechnology steps out of the laboratories and ventures into the field of art and becomes the subject of artistic practices? “Bioart” happens. This emerging field is the practice in which artists use living matter combined with scientific to simulate and reconstruct life. The many eccentric and oftentimes bizarre experiments that we hear of in the news prove once again that art and science are two interconnected fields of study. Both originate from the same will and desire of understanding something new and of communicating this understanding and pleasure to others.

This new breed of avant-garde artists are progressively infiltrating scientific laboratories and changing our way of seeing the world. With biology replacing the original medium of watercolors, photography, and film, bioart no longer derives solely from our post-genomic era, but foregrounds what comes next. However, in envisioning new forms of biological transformation, bioartists scrutinize contemporary bioethical issues to the point of controversy. Although driven by creativity and curiosity, these artworks are explicitly provocative and raise ethical concerns regarding the border between living and nonliving mediums.

To what extent is it acceptable to use life to define and value art? More importantly, how does one determine a standard when such a fine line exists between acceptable and unacceptable? Australian performance artist Stelarc uses his body as an art canvas, from wiring himself to the Internet (literally – attaching electrodes to muscles) to ingesting a deathly stomach sculpture. One of the longest running sagas of his career, the “Ear on Arm” project was one that used a skin expander and a biocompatible scaffold to surgically create a third year on his left forearm. Stelarc continues to use his adult stem cells to make the third ear more prominent. French artist Orlan created the Harlequin Coat, an installation of living, co-culturing cells from different species—some even from the artist’s own body. Using a custom-made bioreactor, Orlan patched together an assemblage of skin pieces, provoking discussion on cultural crossbreeding and species hybridization.

[Ear on Arm by Stelarc] 

[Harlequin Coat Installation at Sheldon Museum, by Orlan]

These artists undertake these uncanny projects to address the breakdown of boundaries about what they perceive as an arbitrary division between living and nonliving, but the difficulty in defining life lies in the many implications for legal rights and property biomedia and artificial life have. As Levy claims in her essay, “The intersection of biology and robotics with legal issues concerning copyrights and patents highlights how fluid our categories are becoming and how arbitrary it is to make distinctions between nature and culture on a legal basis” (14). Ultimately, our cultural understanding of life is incompatible with what we see in the lab and what we are taught to believe.

This uncertainty seems to perpetuate the spiral out of control of many of these artists. As brought up in meanings of participation: Outlaw Biology?  “Creativity breeds creativity…the more innovation there is, the more innovation there is” (8). In other words, this process is not a linear form of accumulation, but potentially one that is exponential and able to grow rampant. Kelty poses an interesting question that instills in us a sort of fear and eerie imminence, “Are we in control of any of this innovation, or does it control us?”

While doing some research on the topic of Bioart being potentially "bad", I came across two interesting websites/articles. Below are the links for the two websites.

Radioactive Biohazard 

This first website shows a controversial reinterpretation of art by Hunter Cole. She confronts many issues regarding the pros and cons of biotechnology. Her abstractions and interpretations are extensive and interesting to see.

ArtNEWS - Biotechnology as an Art Form

This second website is an online magazine article touches on the Australian art duo Tissue Culture & Art Project (TC&A). They produced multiple controversial works of art, such as Victimless Leather and Semi-Living Steak. Although these works of art are very disturbing and unusual, it is also fascinating to peer into their perspectives and perceptions of art in the domain of biology.

Radioactive Biohazard is a controversial art installation by Hunter Cole, artist and geneticist. Radioactive Biohazard reinterprets science as art, through imagery drawn from and inspired by her extensive experience in biotechnology. Cole confronts issues related to human cloning, stem cell research, the big brother aspect of the human genome project, DNA testing in criminology and the potential to create the genetic children of gay and lesbian couples.

Undoubtedly, a good deal of bioart explores the tangled, grotesque image between biology and technology. These unusual projects are under-appreciated and frequent targets of ethical debate, but for the time being, these artists continue to research bioart regardless of its social/political implications; to them, what matters is making something that holds an idea. Their passion and drive ride on the possibility that their important discoveries can have a ripple effect in the world of art and science. The perceptions of promise motivate artists to break the boundaries and redefine the definition of art.

Works Cited

"Ear on Arm." Stelarc. Web. <http://stelarc.org/>.

Harlequin Coat Installation. N.d. Sheldon Museum of Art, Nebraska. Sheldon Art Museum. Web. <http://www.sheldonartmuseum.org/exhibitions/current_exhibitions.html?topic=detail&exb_id=135&category_sent=Sheldon+Exhibitions>.

Levy, Ellen K. “Defining Life: Artists Challenge Conventional Classifications.” 2010, February 11. Essay.

Kelty, Christopher M. "Meanings of Participation: Outlaw Biology?" Outlaws, Hackers, Victorian Gentlemen (2010): Kelty. Journal of Science Communication. Web. <http://kelty.org/or/papers/essays/Kelty_Jcom_Outlawas.pdf>.

Miranda, Carolina A. "Weird Science: Biotechnology as Art Form."ARTnews. N.p., 18 Mar. 2013. Web. <http://www.artnews.com/2013/03/18/biotechnology-as-art-form/>.

Cole, Hunter. "Radioactive Biohazard: Reinterpreting Biotechnology as Art Exhibit." Huntercole. N.p., n.d. Web. <http://www.huntercole.org/artgallery/radbio.html>. 

Event 1: Made In L.A. 2014 (Hammer Museum)

When I first saw Hammer Museum on the list of recommended events, I was ecstatic because I currently intern for the administration portion of the museum in the finance department. Even though I work almost every day, I never had a reason to visit the exhibits and was always curious about the unique displays all throughout the museum. In fact, for the past couple of months, I dealt with the accounting aspect of a new exhibition currently ongoing at Hammer, titled Made in L.A., and constantly reviewed paperwork regarding artists and artwork, so it was an interesting experience to finally see all of this in action!

Made in L.A. 2014 is Hammer Museum’s biennial exhibition that features Los Angeles’ artists with a particular emphasis on emerging and under-recognized artists. The galleries debut recent work and new artwork—paintings, sculptures, videos, installations, photography, and performances—created specifically for Made in L.A. 2014.

On Sunday, July 13, I attended one of Made in L.A. 2014’s talks and tours, titled “What is ART?” the first half of this event was comprised of a discussion with the attendees and art specialists, and the remainder was a walk-and-talk through the galleries.

The discussion piqued my interests and stimulated my imagination when asked to answer: “What is Art?” Oftentimes, because of the way we are taught since childhood, we have a tendency to associate art with more visual elements such as drawings and paintings, but does art really have any boundaries? By definition, art is the “expression or application of human creative skill and imagination, producing works to be appreciated primarily for their beauty or emotional power.

What Is Art? Favorite Famous Definitions, from Antiquity to Today 

[Interesting definitions of Art]

Art can be virtually anything that conveys a message that is of more than ordinary significance. Because art is any discovery, passionate development, or mysterious manifestation, art is not solely limited to the visual branch of creative activity, but rather extended to all realms of music, dance, literature and everything else of the less conventionalist sort.

With this realization in mind, the discussion transitioned into the gallery walk-and-talk where we observed various artistic abstractions and attempted to apply our knowledge of what art is and signifies. The first work of art that we analyzed was “42” by Channing Hansen. Hansen’s work combines his interest in the history of science and technology with his commitment to handcraft. As a physics enthusiast, Hansen delves into questions of math and science in his paintings, which reflect the possibility of art as being answers to the staggering wonders of our time.

["42" by Channing Hansen]

“42” was inspired by Hansen’s desire to manifest radical scientific paradigms and give form to contemporary ideas that seem to exist mainly as abstractions.  Although this “painting” (as he calls it) appears to be designed by random improvisations of shapes and colors, the knitted surface that ranges from raw to refined, thick to thin, loose to tight, chunky to fine is predetermined by a computer mathematical algorithm. 

The next work of art that we looked at was “ENDE: Like a New Beginning” by Emily Mast. Interestingly, this work is presented in different parts and installations that are scattered throughout the museum, rather than being situated side-by-side as an attempt to create echoes or “déjà vu moments” as you wander through the space.  “ENDE” encompasses different methods of delivery, with one part as a visual installation, another as a song, and another as a performance. Mast upends the styles of theatrical staging in an effort to “unsettle the expectations of the viewer.” In her performing arts based works, Mast “muddles conventional ways of delivering information through innovative methods of casting actors and reinterpreting language to examine the varying paths of communication.”

[3 of a total of 5 parts to "ENDE: Like a New Beginning" by Emily Mast]

Would I recommend this event? I definitely do! Unfortunately, this specific talk/tour is given only once throughout the 4 month ongoing exhibition. However, Made in L.A. 2014 is made up of a plethora of talks, tours, viewings, and screenings that are equally fascinating and worth the time.

Made In L.A. 2014

[Just being silly and re-enacting one of the gallery performances]

Works Cited:

Popova, Marla. "What Is Art? Favorite Famous Definitions, from Antiquity to Today." Brain Pickings RSS. N.p., n.d. Web. <http://www.brainpickings.org/index.php/2012/06/22/what-is-art/>.

"Made In L.A. 2014." The Hammer Museum. N.p., n.d. Web. <http://hammer.ucla.edu/made-in-la-2014/>.

http://channing-hansen.squarespace.com/

"Made In L.A., 2014: Emily Mast, 24.35." Web log post. Los Angeles I'm Yours. N.p., n.d. Web. <http://www.laimyours.com/67877/made-in-l-a-2014-emily-mast-24-35/>.