User:Oreopanda100/sandbox

Editing Exercise
One of my favorite movies growing up was the Disney Movie "Mulan," for its soundtrack, and wonderful animation.

The voice behind Mulan's ballads, Lea Salonga, is a treasured singer who was featured on several high-profile tracks in the '90s and early 2000s.

Here is a clip from one of my favorite songs in Mulan.

In my experience, editing this page has been no different than editing a Google Site, albeit easier. There are certainly more nuanced tricks available on Wikipedia to increase aesthetics, but I found that with time and a careful eye, editing on Wikipedia is pretty simple.

My Artist
I chose to study the artist Prema Murthy, who is an artist who occupies a noteworthy position within the contemporary artistic milieu. Employing a synthesis of aesthetics, gesture, geometry, and algorithmic processes, Murthy's works constitute of a compelling exploration of the liminal spaces wherein corporeal presence converges with abstraction. Simultaneously, her work engages substantively with cultural and political dimensions. As a woman of South Asian descent, I wanted to study here to see where my understanding of her background aligns with the reality of mine.

Contributions to Prema Murthy's Wikipedia Article
Below, I have listed my contributions to Prema Murthy's Wikipedia Article (in bold) as they appear on her current page. At the end, I will list the contribution of sources that I have added to her article as well.

Background
'''Murthy draws from a childhood surrounded by the natural beauty of the Pacific Northwest and a diverse ancestral background. Born to Filipino and Indian parents, her maternal grandfather was a medical professional in the Philippines, while her paternal grandfather served as a Hindu priest in a South Indian village temple. These natural and familial influences straightforwardly contribute to Murthy's artistic perspective.'''

Education
'''Murthy pursued her formal academic journey in the realm of arts, earning a Bachelor of Arts degree with a focus on Art History and Women’s Studies from the University of Texas at Austin. Her dedication to the craft led her to further enhance her artistic prowess, culminating in the achievement of a Master of Fine Arts from the prestigious Goldsmith's College, London. '''

'''Additionally, Murthy was initiated into ancestral practices at the age of 11 in her grandfather’s village near Bangalore, India. Murthy later underwent Sri Vidya diksha in adulthood. Her journey extended into the realm of physical discipline through training in Kalaripayattu, an ancient Indian martial art. In the pursuit of holistic understanding, her training encompassed the principles of healing and harmonious living with nature, delving into the science of Ayurveda. Furthering such studies, she also sought guidance from a traditional medicine healer and ceremonialist with roots in the Indigenous Bontoc and Ibaloi tribes of the Philippines, specifically the Igorot communities. This diverse training and exploration of cultural traditions continue to shape Murthy's artistic perspective and approach. She has taught Digital Art at City College (CUNY) and Sarah Lawrence College.'''

Artistry Analysis
'''Murthy's artistic endeavors delve into the intricate interplay of beauty, femininity, and South Asian American culture, echoing broader discussions on identity and representation. In her installations and sculptures, Murthy provides a visual dialogue with the nuanced literary explorations of cultural symbols like the bindi and the sari. Murthy's artwork becomes a tangible response to questions posed by cultural theorists, offering a unique visual language to express the complexities of identity and beauty. Her choices in aesthetics and symbolism can be seen as a form of visual activism, challenging and redefining perceptions within the broader discourse on femininity and beauty. By drawing from these general concepts and engaging with digital networked media, Murthy's art becomes a rich exploration of cultural representation, identity, and the multifaceted nature of beauty within the South Asian American context. '''

Career
Murthy's artistic portfolio encompasses a diverse array of works that showcase her distinctive exploration of themes and mediums. Murthy's early digital art works from the 1990s - such as Bindigirl and Mythic Hybrid - are considered pioneering examples of internet art from a feminist perspective. These works explored the intersections of gender, race, and technology, while also utilizing the then-emerging tools of streaming media as a platform for performance art. These works contributed to the cyberfeminist art movement, while also drawing inspiration from postcolonial studies and feminist science fiction. In 2015 Murthy's work Bindigirl was included in the group retrospective "Come As You Are: Art of the 1990s".

'''Notable among her creations is "Fuzzy Logic," an installation that seamlessly blends handmade and digital elements, introducing the concept of imprecise precision. Crafted with simple black wool yarn, the three-dimensional structure of Fuzzy Logic extends into the space, evoking notions of crystals and geometric forms. Murthy's emphasis on exploring the interplay between minimalism and abundance, with a focus on lines and form over color, is noteworthy. "Fuzzy Logic" was later featured at MoMA PS 1 in New York City.'''

'''Another standout work is Murthy's wool sculpture, which is a two-dimensional drawing translated into a three-dimensional space installation. Executed with black wool yarn, the intricate structure extends beyond the designated space, resembling crystals and geodes. In her print series, including "Unfolding," "Dark Matter," "Emotional Precision," "Breaking the Grid," "Collide," and "Quiver," Murthy delves into mysterious processes, possibly depicting veins, nerves, or the aura. Despite appearing hand-drawn, these prints are computer-generated, showcasing her engagement with technology. '''

In the 1990s Murthy also co-founded the artgroup known as Fakeshop, a collective that used early live video conferencing technologies, interactive video and music software, and digital animation to create large scale performative installations. Fakeshop presented its work at venues such as Ars Electronica and SIGGRAPH, and was included in the 2000 Whitney Biennial, the first major American museum to include Internet art as a special category in its exhibition. This work was written about in the New York Times, Art Asia Pacific Magazine, the Wall Street Journal, and Artforum.

Murthy's recent work includes the use of 3D modeling tools to create large scale drawings, digital prints, and installation. These works make reference to the art of Futurism, Minimalism, and the Baroque. In 2010 Murthy used these techniques for her animated short "Monster," produced in collaboration with singer/songwriter Miho Hatori.

'''Murthy's conceptual exploration extends to the realm of minimalism, where she contemplates identity and networks. Her works in this domain focus on form and line, addressing fundamental questions about individuality and human connections. Additionally, she offers subtle observations on pornography, viewing it as a commentary on power dynamics and unkindness.'''

Awards and Commissions

 * New York Foundation for the Arts Fellowship
 * Creative Capital Grant in Emerging Fields
 * Greenwall Foundation Commission for Turbulence.org
 * Finishing Fund Grant from The Experimental Television Center
 * Digital Matrix Commission from the Bronx Council on the Arts
 * Urban Artists Initiative Grant from the Asian American Arts Alliance

New Sources (Cited on the Wikipedia Page):

 * Vora, Swapna. “Prema Murthy: Weaving the Web.” AsianArt.com, 7 September 2007.
 * Reddy, Vanita. Fashioning Diaspora: Beauty, Femininity, and South Asian American Culture. Temple University Press, 2016.
 * Dennis, Kelly. “Gendered Ghosts in the Globalized Machine: Coco Fusco and Prema Murthy.” Paradoxa: International Feminist Art Journal, Vol. 23, 2009, pp. 79-86.
 * Reckitt, Helena. “From Bindi Girls to Space Invaders: Prema Murthy.” ArtAsiaPacific, no. 39, Jan. 2004, pp. 34–35.
 * Grice, Helena, and Crystal Parikh. “Feminisms and Queer Interventions into Asian America.” The Cambridge Companion to Asian American Literature, ed. Crystal Parikh and Daniel Y. Kim, Cambridge University Press, 2015.
 * Sollfrank, Cornelia. “Revisiting CaberFeminism.” Art Papers Magazine, vol. 39, no. 3, May 2015, pp. 29–33.