Category Archives: liu post MFA

Remix Fairness, A Closer Look.

Remix Fairness, A Closer Look.


My friend and colleague Michael Branson Smith shared this great piece with our CT101 class this past week – Its very timely and speaks to artists of all kinds – “Andy Baio is a software developer for Kickstarter writes and speaks about his experience being sued by a photographer and is forced to settle and pay thousands of dollars. This is despite the fact he believes the law is on his side and so does his pro-bono counsel the EFF.”

Questions to address in the comments section below ::

  1. What did think about the presentation?

2. How has this presentation solidified or changed your point of view or awareness on the subject of remix and reuse culture?

3. How does this information effect the way you may or may not promote yourself as an artist on the web?

( Make sure that you read Andy’s blog post here as well -> writes <- )

A Thesis Writing Template & Guide

Click the link above and read the essay. The essay will serve as a template and a series of exercises that we will perform in class over the duration of the semester.

Feel free to react and respond to the essay in the comments section below. What did you find useful? Did anything stand out? Please explain.


Artist Interviews :: Today’s Top Contemporary Artists?

Artist Interviews :: Today’s Top Contemporary Artists?

The interviews that will be viewed and discussed in class on 9/20/16

Video with Damien Hirst-

“I just thought, ‘What can you pit against death?”[1]

‘For the Love of God’, a platinum skull set with diamonds, is one of Hirst’s most important and widely recognised works. Its raw materials define it as an artwork of unprecedented scale. The 32 platinum plates making up ‘For the Love of God’ are set with 8,601 VVS to flawless set diamonds, weighing a massive 1,106 carats. The teeth inserted into the jaw are real and belong to the original skull.

The skull from which ‘For the Love of God’ was cast, was purchased from a London taxidermist and subsequently subjected to intensive bioarchaeological analysis and radiocarbon dating. This research revealed it dated from around 1720 – 1810, and was likely to be that of a 35-year-old man of European/Mediterranean ancestry. The title originates from exclamations Hirst’s mother would make on hearing plans for new works when he was starting out as an artist. As he explains: “She used to say, ‘For the love of God, what are you going to do next!’” 

‘For the Love of God’ acts as a reminder that our existence on earth is transient. Hirst combined the imagery of classic memento mori with inspiration drawn from Aztec skulls and the Mexican love of decoration and attitude towards death. He explains of death: “You don’t like it, so you disguise it or you decorate it to make it look like something bearable – to such an extent that it becomes something else.”[2]

The incorporation of the large central stone was inspired by memories of the comic ‘2000 AD’, which Hirst used to read as a child. He relates how the comic, “used to have a character in it called Tharg the Mighty who had a circle on his forehead. He was like a kind of powerful, God-like figure who controlled the universe,” Hirst explains. “It kind of just looked like it needed something. A third eye; a connection to Jesus and his dad.”[3]

Alongside their dazzling brilliance and “Eucharistic” beauty, Hirst’s fascination with diamonds results partly from the mutterings and uncertainty surrounding their inherent worth. In the face of the industry’s ability to establish their irreplaceable value, it becomes necessary to question whether they are “just a bit of glass, with accumulated metaphorical significance? Or [whether they] are genuine objects of supreme beauty connected with life.”[4] The cutthroat nature of the diamond industry, and the capitalist society which supports it, is central to the work’s concept. Hirst explains that the stones “bring out the best and the worst in people […] people kill for diamonds, they kill each other”.[5]

In 2010, Hirst created a second, baby diamond skull called ‘For Heaven’s Sake’ using pink diamonds.

Damien Hirst

Jeff Koons

Marina Ambramovic

James Turrell –

Mariko Mori –

Welcome to ART 550 – Fall 2016

Welcome  Students!

Our first class begins on Tuesday 9/13/16 at 5 PM in Humanities room 224.

This blog is an ongoing continuation of the course for current students, as well as recently graduated students who have taken this class. Reacting and responding regularly for currently enrolled students is mandatory. Alumni and those who have already taken the course are encouraged to participate and share with us!

You are welcome to share resources, links, news and events that apply to our course criteria as well as anything that you feel would help your fellow art students!


Important Time Sensitive Info for all MFA students graduating this coming May 2016:

Important Time Sensitive Info for all MFA students graduating this coming May 2016:

Please read all of the info carefully.

  1. Our Tuesday 12/1/15 class session will be a Thesis / Research Paper Revision workshop. We will be discussing the revision process. Students will break up into groups and discuss and edit drafts of each other’s papers. Please bring 2-3 printed copies of your current thesis/paper in progress, or prepare digital versions to e-mail to each other. Please e-mail or bring a printed copy for me as well.

2. Tuesday 12/1/15 – in class we will be filling out the “MFA Thesis Proposal Form” which will served as a cover page for your thesis proposal paper. This form must be returned to Professor Neill Slaughter’s mailbox no later than this coming Friday 12/4/15. If you miss our class this week, you are 100% responsible to pick up the form from Cristina in the art office and return it to Professor Slaughter’s mailbox.

3. Your Final Thesis Papers must be submitted to me, and to Professor Neill Slaughter no later than Tuesday 12/15/15. You may submit the paper anytime before this as well. An e-mail copy is fine for me, but a printed copy should be prepared and submitted to Professor Slaughter.

3.  It is highly advised that all students contact the writing center on campus to have their final research and thesis papers evaluated. You can do this with your current drafts as well.

The Writing Center is located in Humanities Hall, 2nd floor, room 202.

Contact them by Phone: 516-299-2732

Contact them by E-mail:

Keep in mind that end of semester is near, please contact them today to make an appointment!

Writing center url –

Guest Artist Lecture :: Martynka Wawrzyniak


On Tuesday 11/24/15 artist Martynka Wawrzyniak came to LIU Post to speak & present to our class. Martynka gave a great time line based presentation about her work both past and present. She presented her work directly from her website. (There is much more to discover via her site so please further investigate when you can!)

Martynka led a group critique and spent time speaking with students that had presented a piece of their current work to the class.

Students can leave their reactions below in the comments section.

What did you think of Martynka’s work?

Do you have a favorite piece or project?

Do you resonate with her ideas? If so, how?

How do her initial ideas play a role in how her works will be presented and displayed?

You can contact Martynka via her website here.

Group Collaboration Project.

Group Collaboration Project

During the week of 11/10 – We began class collaboration project #2. The class broke up into two groups and started an in class group brainstorming exercise. We discussed the works of several artist collaborations over a historical timeline to help begin the process. Each group had the freedom to develop, generate and execute a collaborative work of art based on a collective idea created by the group.

During the week of 11/17 –  We had class presentations of the final outcomes. Both groups presented and discussed their process, execution of the works, composition and documentation. Each group critiqued the final outcome of the opposite group. 

In the comment section below, Group#1 and Group #2 will add their collective statement, as well as collaborate on a group critique of the opposite groups final work of art.


Group #1 – Above

Group #2 – Below