View allAll Photos Tagged Overthinking
My faith pulls me through a lot of stress as I am someone who tends to overthink things. I wanted to show a part of myself in this photo that not everyone sees but plays a huge role in my life and that is my faith and where I draw strength from.
Overthinking, overdoing, undoing, unthinking, gouging, mending - making do. Creating a body of work driven by the fear of forgetting.
I started out with a ruler, trying to get 3/4 inch slices. (No joke, I am that fanatical about following the recipe.) But then I reckoned that 3/4 inch of a skinny part isn't the same as 3/4 inch of a fatter part, so maybe I should be looking at them in terms of overall mass. And then I decided I was overthinking the whole thing and just started chopping faster.
DAILY EDGE 134
CERTAINTY comes from doing the shit that you know you need to do.
UNCERTAINTY comes from DOUBTING you CAN.
If you want to CREATE CERTAINTY in you life,
DO THE FUCKING WORK.
And stop OVERTHINKING IT.
“DON’T EAT SONGBIRDS”
This was my very first attempt. I hate being bad at things — the feeling of being inept is perhaps even more irksome than the ineptitude itself — but when you start something new and unfamiliar… you have to be really bad at it at first.
It’s weird, whenever I’m embarking on any new creative project, I start by researching and researching and then researching some more. There’s this part of me that really feels like I have to get the bulk of the important things figured out before I can even really ‘start’. So, yeah, I research and plan and overthink it all and try to preemptively troubleshoot as much as possible before I’ve even fucking begun. It’s silly, yes, but it’s just how I am, how I’ve always been.
And what’s funny (and by ‘funny’ I mean ‘also kind of crushing’) is how you really don’t know jack until you just go throw your plan against the hard wall of reality and see what shatters and what doesn’t. It’s the only way to precisely figure out what you *actually* need to be doing and how you *actually* need to be doing it.
And that’s why, as much as this failed practice-run tag looks like shit, it was also hugely valuable. Because I immediately learned so much.
For instance, when I headed out that day, I was sure that I had already landed on the right tool for tagging. And then of course I instantly discovered that it wasn’t right at all. It just wasn’t up to the job. But that was something I could only ascertain by actually going out and *doing the thing*, y’know? (As opposed to just sitting at home and watching Youtube videos and reading Reddit threads and futilely trying to merely better calibrate my guesswork.) And so then I went back to the drawing board and after trialling like three or four other options, I finally settled on the ones that worked how I wanted them to.
Anyway, the point I’m getting at is that I’m trying to be more at peace with the fact that the process is the process. And hence, this first tag as my first real post. Not scornfully hidden away, not forgotten. But just acknowledged as part of the process. And even if I dislike that it didn’t come out right, I can still be glad that it was a useful mistake.
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Daily Dog Challenge"143. "Simple" - Take a photo of your dog with a simple composition today. Don't overthink it!"
Scavenge Challenge March 2012 - "22. Mugs and cups are the theme. They may be full or empty, but glasses are not allowed."
We have many mugs, but I felt these were pretty good fits for their respective "owners".
Stop on by Zachary and Henry's blog: bztraining.blogspot.com
Sometimes we overthink what could be a cool shot. I like how simple and cute this photo is. It also feels very tumblr
I think that the reason why I am so into the series “13 reasons why” is that I have sympathy with Hannah Baker. We have so many things in common, like both being way too sensitive and easily broken. Anh we keep it too deeply, we keep it and then hide it and fake a funny cheerful one and sometimes all explode into a breakdown that nobody could ever understand why. “Why did she do that/feel that?” “Did she do it for attention?” “She gives a shit on everything. Fuck her!” …. How cold the others' thinking are?
I long for someone who can hold me as tight as possible, to tell me that “you have me here. I’ll always love you”, or someone who just don’t need to say anything just stay side by side to me and make me less insecured, who I can trust, who don’t say that I’m overthinking even though I am. I’ll love that person with all my heart and all I ever had. I want it too too bad to the point it becomes an obsession - a hopeless obsession.
This is my White Itty Bitty Book front page. It is a little larger than an ATC card so it can be bound in a small book. I think my "I" may be cut off once it is bound, dumb me forgot about that part when I glued on the saying. Oh well, I was really stumped on this project. I was overthinking it and made two other attempts totally different pictures and ideas that I tossed out. Got home tonight and dug threw my stash since my printer is not working and found an old package of ephemera and some sayings and away I went.
The background is a heart doily with some glitter. I may add a crepe paper edgeing down the right side. We shall see.
My mother once again sent me an interesting puzzle, which was apparently given to pre-school kids, all of whom gave the right answer. In which direction is the bus traveling? (The only possible answers are "left" or "right".) Kids are great observers, because they don't interpret nor overthink things as much as grownups do. Some of us probably even see the bus coming straight at us.
While walking around in the charming city of Sausalito, I saw a crowd gather around a man - Bill Dan - who made a living balancing rocks on top of one another. At first I thought it was all a gimmick, that he discreetly put some invisible glue to hold the odd-shaped rocks together, until the strong winds toppled one of his creations. There is something innately spiritual in this art form, and anyone can learn how to do it by applying - consciously or unconsciously - simple physics and engineering principles. And of course, a ton of practice.
Day 4: My favorite Food!
I love seafood. I love oysters! I like them with the tiniest bit of horseradish. Don't look at them for too long. :) The biggest rookie mistake is overthinking it. If you gape at a naked oyster for more than a minute or two, you probably aren’t going to be able to eat the thing. But as is true of so much in life, what becomes ugly on closer inspection may be beautiful in a passing glance.
Few seafoods have as much history or lore as oysters. The Romans first cultivated oysters over 2,000 years ago, and they have a rich tradition as an aphrodisiac (King Henry IV was said to eat 400 oysters before dinner). Today, this ubiquitous bivalve is more popular than ever, as a revival of restaurant oysters bars has given Americans more opportunity to slurp these plump, savory morsels.
Tomorrow - 05/08/2015 Day 5- Best Friend
Who wants to join? Start now or whenever you can.
There are no special materials given, feel free to use anything you want!
Cover artwork for Overthink's Legacy EP, artwork by Ghost Toast. More info at droidsong.com/music/overthink-legacy
Look at the photo again, I'm spelling out the word ABOUT...or trying to anyway. Haha! Didn't have much time for a photo so this happened. So about me...I'm a simple person with a complicated mind. I overthink and overanalyze most things. I'm silly but serious, curious and crazy. Love me or at least, laugh at me!
Overthinking, overdoing, undoing, unthinking, gouging, mending - making do. Creating a body of work driven by the fear of forgetting.
i got this krazy straw as a gift last night. i used to love these when i was a kid.
my head sure is spinning right now. in some ways, i feel like i'm right back where i was two & a half years ago, unsure & overthinking. in other ways, i feel like i'm finally getting back to solid ground where i'm supposed to be.
slow & steady wins the race.
Katharina Fritsch - German, born 1956
Hahn / Cock, 2013
East Building, Tower Level — Roof Terrace
Hahn/Cock is a sculpture of a giant blue cockerel by the German artist Katharina Fritsch. It was unveiled in London's Trafalgar Square on 25 July 2013 and was displayed on the vacant fourth plinth. The fibreglass work stood 4.72 metres (15.5 ft) high and was the sixth work to be displayed on the plinth, on which it stayed until 17 February 2015. It was subsequently acquired by Glenstone, a private museum, and exhibited at the National Gallery of Art in Washington, DC, following its 2016 reopening. In March 2021, Glenstone permanently donated the piece to the National Gallery.
The work is in an edition of two. The second version is in the sculpture garden of the Walker Art Center in Minneapolis, Minnesota, on a pedestal designed by the artist, where it has acquired the nickname The Blue Rooster.
Fritsch says that there are many possible interpretations of the cockerel, which took her two and a half years to create, but calls it "a feminist sculpture, since it is I who am doing something active here – I, a woman, am depicting something male. Historically it has always been the other way around. Now we are changing the roles. And a lot of men are enjoying that."[4] She notes that the surrounding area has a strongly male character, with numerous statues of "male persons standing on pedestals" and the male-dominated culture that goes with London's status as a business centre. The statue is intended to be a humorous counterbalance, contrasting with the very formal equestrian statues on the square's other three plinths: "Humour is always a big thing for me. It stops things from becoming too severe. I like English humour. It is so often very dark."
The sculpture was selected by the Fourth Plinth Commissioning Group, a panel of specialist advisors that guides and monitors the commissions for the plinth.[5] According to a press release issued by the group to announce Fritsch as the winner of the commission,
The sculpture ... communicates on different levels. First of all is the consideration of the formal aspect of its placement: the mostly grey architecture of Trafalgar Square would receive an unexpectedly strong colour accentuation, the size and colour of the animal making the whole situation surreal or simply unusual. The cockerel is also a symbol for regeneration, awakening and strength and finally, the work refers, in an ironic way, to male-defined British society and thoughts about biological determinism.
It was unveiled on 25 July 2013 by Mayor of London Boris Johnson. He pointed out the irony that the cockerel, an unofficial national emblem of France, was standing in a square commemorating a famous British victory over the French.[4] Fritsch has said that she was unaware of the connection until it was explained to her. According to Fritsch, she chose the cockerel to represent strength and regeneration, "but it's a nice humorous side-effect to have something French in a place that celebrates victory over Napoleon. He has come back as a cockerel!" Johnson said in his speech that "I hope French people will not take it as excessive British chauvinism – but for me it stands for the recent British triumph in the Tour de France, which we have won twice in a row ... it is a symbol of French sporting pride, brought like a chicken to London. We have mounted this French cock at the heart of our imperial square."
Fritsch and Johnson have both noted the sexual double entendre in the work's name – in English – and the artist admits that it is consciously intended as a play on words. She highlighted the fact that Trafalgar Square itself has a somewhat phallic character: "It's about male posing, about showing power, about showing ... erections! I mean, look at that column!" Asked whether he felt that the cock had crushed his manhood, Johnson said: "No, not at all. I am happy to channel the power and enthusiasm of that bird; I feel inspired by its regal manner and mood of confidence." He told the crowd that he would "not lapse into double entendres and ask how long this wonderful creature will 'stay up' in the square," before unveiling what he called a "big, blue ... bird."
The giant cock received generally positive reviews from art critics, with punning headlines such as "Big blue cock erected on fourth plinth in London's Trafalgar Square", "Boris Johnson in Trafalgar Square with a Massive Blue Cock And Disgruntled Woman" and "Boris Johnson unveils giant cock in Trafalgar Square"
Adrian Searle of The Guardian commented that "the scale and modelling and degree of detail feel right", with a "lifelike and other-worldly" feel to the sculpture. He felt that it avoided "straining to look meaningful or relevant" and that despite its irreverence, it "lightens the mood and lifts the spirit." The Daily Telegraph's Serena Davis did not regard it as being as impressive as some of the previous works to have stood on the fourth plinth, but nonetheless called it "one of the jolliest things to have sat upon the square's spare plinth since the public art commissions for it began in 2005."
BBC News' arts correspondent Rebecca Jones wrote that the work has "a kind of joyful aspect to it which will put a smile on many people's faces". ]Visitors interviewed by the London Evening Standard newspaper also gave it a thumbs up. The Thorney Island Society, a local conservation group, objected to the sculpture on the grounds that it was "unrelated to the context of Trafalgar Square and adds nothing to it but a feeble distraction", but The Guardian's chief arts writer Charlotte Higgins pointed out that Fritsch's other works have a habit of "appear[ing] "fanciful and dramatic" and "unrelated" to their contexts." She commented that one should not "overthink it. It's a big, blue, funny, weird, surreal bird in Trafalgar Square. It's going to cheer us all up. Katharina's Cock, as I'd like to think of it, should be a hit."
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www.nga.gov/about/welcome-to-the-east-building.html
The East Building opened in 1978 in response to the changing needs of the National Gallery, mainly to house a growing collection of modern and contemporary art. The building itself is a modern masterpiece. The site's trapezoidal shape prompted architect I.M. Pei's dramatic approach: two interlocking spaces shaped like triangles provide room for a library, galleries, auditoriums, and administrative offices. Inside the ax-blade-like southwest corner, a colorful, 76-foot-long Alexander Calder mobile dominates the sunlight atrium. Visitors can view a dynamic 500-piece collection of photography, paintings, sculpture, works on paper, and media arts in thought-provoking chronological, thematic, and stylistic arrangements.
Highlights include galleries devoted to Mark Rothko's giant, glowing canvases; Barnett Newman's 14 stark black, gray, and white canvas paintings from The Stations of the Cross, 1958–1966; and several colorful and whimsical Alexander Calder mobiles and sculptures. You can't miss Katharina Fritsch's Hahn/Cock, 2013, a tall blue rooster that appears to stand guard over the street and federal buildings from the roof terrace, which also offers views of the Capitol. The upper-level gallery showcases modern art from 1910 to 1980, including masterpieces by Constantin Brancusi, Marcel Duchamp, Sam Gilliam, Henri Matisse, Joan Miró, Piet Mondrian, Jackson Pollock, and Andy Warhol. Ground-level galleries are devoted to American art from 1900 to 1950, including pieces by George Bellows, Edward Hopper, Georgia O'Keeffe, Charles Sheeler, and Alfred Stieglitz. The concourse level is reserved for rotating special exhibitions.
The East Building Shop is on the concourse level, and the Terrace Café looks out over the atrium from the upper level.
www.theguardian.com/culture/2016/oct/03/national-gallery-...
"The structure asks for its visitors to gradually make their way up from the bottom, moving from the Gallery’s earliest acquisitions like the paintings of French Post-Impressionist Pierre Bonnard to its contemporary work, such as Janine Antoni’s much fussed over “Lick and Lather,” a series of busts composed of chocolate and soap. The bottom floors offer a more traditional viewing experience: small taupe-colored rooms leading to more small taupe-colored rooms. As one moves upward, however, the spaces open up, offering more dramatic and artful exhibition rooms. The largest single aspect of the I.M. Pei-designed building’s renovation has been the addition of a roof terrace flanked by a reimagination two of the three original “tower” rooms of Pei’s design.
On one side is a space dedicated to sculptor Alexander Calder, with gently spinning mobiles of all shapes and sizes delicately cascading from the ceiling. The subtle movements of the fine wire pieces mimic the effect of a slight breeze through wind chimes—it’s both relaxing and slightly mesmerizing, especially when we’re used to art that stands stock still. Delight is a relatively rare emotion to emerge in a museum, making it all the more compelling.
But it’s the tower space on the other side—a divided hexagonal room—that caused several visitors to gasp as I surveyed it. On one side of the division (the room you enter from the roof terrace) hang Barnett Newman’s fourteen “Stations of the Cross,” the human-sized renderings of secular suffering and pain conceived in conversation with the Bible story. Entirely black and white, with just a tinge of red in the final painting, the series wraps around the viewer, fully encapsulating you in the small but meaningful differentiations between paintings. Hung as a series, the paintings gain a narrative they might otherwise have lost.
The light edging around either side of the room’s division invite the viewer to move from Newman’s chiaroscuric works, which require you to move from painting to painting searching for the scene in each, to a mirror image of that space covered in Mark Rothko’s giant, glowing canvases, which require the viewer to step back and attempt to take in the sight of so much hazy, vivid color all at once. The dichotomy is stark, and yet the paintings all work together somehow, rather than one set repelling the other.
With light filtering through the glass ceiling above, the tower room does feel like a crescendo of sorts, but not in the way many museums’ most famous or valuable pieces often do. The room isn’t dedicated to ensuring that visitors snake their way into the belly of the museum, to first be captured and then let out through the gift shop. Instead, it’s a reminder that in a space dedicated to honoring the modern and the contemporary that the evolution of art remains just as integral as any singular Marilyn Monroe by Andy Warhol or Donald Judd aluminum box. There’s still a story in abstract art."
www.washingtonian.com/2016/09/28/national-gallery-art-eas...
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