Final Project - Simulations - A Jean Baudrillard Inspired Piece

Synopsis: My photo book will emulate Baudrillard’s general concept of simulation through the medium of photography; Each photo will have a quote taken out of the direct context of the book and into that of the respective photo with the intent of adding another dimension of simulation. 

At times throughout this term I struggled to understand the language used in Simulations and found that I learned more about it (simulation) as a concept through the creative process rather than trying to follow along with Baudrillard's prose. While decipherable, I wasn't ever of the impression that I fully grasped what Baudrillard published. I think it is this reason that I decided to utilize the concept very broadly in the compilation of my final piece. Contrary to classmates projects, my work tended to lack a consistent sub-theme in the field of simulations. My insecure creative process led me to think of simulations very broadly. I think this was an important subconscious decision in strengthening my knowledge of art history as well as having confidence in producing work with value on my own. I think constructing a photo album and connecting it to quotes in Simulations fully details my growth as an artist/student this term. Im excited for whats next.

You can find a majority of my work here

If you wish to see a PDF of my final book please email me and I can give you access: patrick.j.omahoney@lawrence.edu

Thanks for following a long this term, 

Patrick 

Reflection #2

I really enjoyed the Art History lecture on the progression of the Korean Courtesan and had some connections come to mind between the work presented and the idea of simulations. There once was a 'pure' courtesan however it has been so simulated over the years that there are multiple opinions on what truly is a courtesan, meaning it has lost its original, exclusive characteristics. The lecturer spoke about the differences of a courtesan as a beautiful, modernistic, eye pleasing woman versus a representation of traditional oriental beauty. This dispute of what a is a true courtesan is a tribute to the destruction of the real from the ethnographer (in this case Japanese and Korean artists). This destruction was the result of what the lecturer referred to as the "search for new subject matter." Artists all over the world were inspired to escape from European conventions and there was an interest in exploring "new pastures in the oriental Asia". Baudrillard would condemn such ethnography but, as I've come to realize throughout the term, it is commonplace in art history to ignore the damages of simulation in preference of producing something new or 'better'.