finished the berger ways of seeing book this morning. in reflection, i see it as a good introduction for someone who has had limited exposure to art or the social sciences/history.
what i did get out of it:
1) a few potential art ventures that popped into my head as my mind wandered. actually it was more of a word read that triggered a tangent image. i sketched them out + notes since i have learned that i will be clueless to my scarce chicken scratches a few weeks from now.
2) the exploration as oil painting as it's own genre & that what painters like rembrandt were reacting to is lost on us/painters that reference him. so that those who follow paint this way because of it's appeal/marketability/esteem & may not really the mindset behind it-sorta like copying words of a foreign language yet not knowing the language. i think it is true to some degree, however i also feel that our rt brain/visual knowledge picks up on this kind of stuff > if only on a subconscious level.
3)i liked the landscape as non object observation since that references my work/choices as i do a lot of abstract & landscape + backpack a whole lot (in place without evidence of man).
next: read the other berger book & put them behind me. will read danto as well. danto is not on my reading list - yet think i need to know his work/thoughts. his writing is not for the weak and would be taxing to pursue in the same manner as other books. for me i will read one chapter a week. i need incubation time with his books.
Sunday, July 29, 2007
Saturday, July 28, 2007
prep++
dvd:
watch documentary on florida's "highwayman" outsider art. was not what i think of as outsider art, yet at the time they started (1950's) it may have been. their key influence was a local guy that trained in the hudson river school at parsons... (got from blockbuster online)
readings:
spent time in "the spiritual in art..." i have been heavily influenced for many years by the stuff in this book (the book is new to me), and i am trying to determine if i buy into the premise of this book > if the thesis is true for me or just a construction of the author. what is said in it is true, yet may not be for me/my work. can i be doing one thing & think i am another? it could be a subjective view that is embraced by few. i hope it has written documentation/validation by the artists of the images referenced since it is pretty easy to spin anything to fit one's agenda - humans do it nonstop in all interactions or to self all the time (almost anyway).
paintings:
work ideas for digital qualities -experimented in photoshop. not sure what i am doing < which is good, that way i hopefully end up somewhere new (to me & others).
thoughts:
1)rather than paint on digital, create image in 3d software as subject to paint?
2)pending cost, play with lensticular over suitable digital image composites printed on clear with mirror/chrome-ish/reflective/lightweight back. then maybe paint some on plastic surface to enhance digital image & enhance visual depth. mirror/reflective is for illumination/add depth+ maybe make lenticular behave differently
school/aib:
reviewed aib stuff to make sure i was on board & on schedule. + look for questions to ask academic adviser (deborah davidson) when she calls monday night.
books: one more left to buy; relational aesthetics/bourriaud
tried to renew the danto books (unnatural wonders & after the end of art) to no avail. will have to go in, ck in & ck out again.
studio:
paint surface:
sanded & gessoed hardboard for unique arched frame (w48xh(48straight+5 inches at center/arc)
frame:
was a frame built for a mirror & very deep at the sides & 8 inches wide. pine with a slight blonde/white washed finish. frame looks like a show piece for a large home or hotel. shape reflects the calif/spanish architecture of this area. if all goes well i will have it done in time for my solo show i hang next week in pebble beach.
repaired frame:
glue/screws/gussets/clamps/straps to stabilize
+
reviewed my sketches for this project. started sketching about 6 weeks ago. still like them, had narrowed it down to 2 solution, yet now have decided to do a weed painting on it & if it does not sell during this show will go back to the previous plan. the reason for the change that i have decided to hang my "weed" stuff rather than abstract/expressionistic landscapes due to family stuff that hindered everything getting framed (none were of ready-made ratios).
watch documentary on florida's "highwayman" outsider art. was not what i think of as outsider art, yet at the time they started (1950's) it may have been. their key influence was a local guy that trained in the hudson river school at parsons... (got from blockbuster online)
readings:
spent time in "the spiritual in art..." i have been heavily influenced for many years by the stuff in this book (the book is new to me), and i am trying to determine if i buy into the premise of this book > if the thesis is true for me or just a construction of the author. what is said in it is true, yet may not be for me/my work. can i be doing one thing & think i am another? it could be a subjective view that is embraced by few. i hope it has written documentation/validation by the artists of the images referenced since it is pretty easy to spin anything to fit one's agenda - humans do it nonstop in all interactions or to self all the time (almost anyway).
paintings:
work ideas for digital qualities -experimented in photoshop. not sure what i am doing < which is good, that way i hopefully end up somewhere new (to me & others).
thoughts:
1)rather than paint on digital, create image in 3d software as subject to paint?
2)pending cost, play with lensticular over suitable digital image composites printed on clear with mirror/chrome-ish/reflective/lightweight back. then maybe paint some on plastic surface to enhance digital image & enhance visual depth. mirror/reflective is for illumination/add depth+ maybe make lenticular behave differently
school/aib:
reviewed aib stuff to make sure i was on board & on schedule. + look for questions to ask academic adviser (deborah davidson) when she calls monday night.
books: one more left to buy; relational aesthetics/bourriaud
tried to renew the danto books (unnatural wonders & after the end of art) to no avail. will have to go in, ck in & ck out again.
studio:
paint surface:
sanded & gessoed hardboard for unique arched frame (w48xh(48straight+5 inches at center/arc)
frame:
was a frame built for a mirror & very deep at the sides & 8 inches wide. pine with a slight blonde/white washed finish. frame looks like a show piece for a large home or hotel. shape reflects the calif/spanish architecture of this area. if all goes well i will have it done in time for my solo show i hang next week in pebble beach.
repaired frame:
glue/screws/gussets/clamps/straps to stabilize
+
reviewed my sketches for this project. started sketching about 6 weeks ago. still like them, had narrowed it down to 2 solution, yet now have decided to do a weed painting on it & if it does not sell during this show will go back to the previous plan. the reason for the change that i have decided to hang my "weed" stuff rather than abstract/expressionistic landscapes due to family stuff that hindered everything getting framed (none were of ready-made ratios).
Friday, July 27, 2007
studio work
studio work;
to date i have 8 paintings/studies done.
what they are:
an attempt to develop a more expressionistic brush stroke technique
how have i achieved this?
by getting 20 pints of pre-colored house paint (free or cheap) to paint with. the logic being that i can financially afford to take risks - squander materials to get to a different place artistically. in general i can be very tight/controlled - almost rendering in nature. working in acrylic is one reason for this as the quick dry can be unforgivable if heavily applied + the cost of good paint/materials. "almost free" removes that barrier to enable me to find the "next one."
results: i have fun anytime i am painting. what is new to me in this is the parameters of the pre-tinted paint & it's consistency & opacity. it instantly has it's "own look" which is different that what i normally do. i could develop a whole style using this technique. think i will need to paint under numerous names to indulge in the range of styles/mediums i like to work in :) "it much like pizza - i LOVE it - yet would be pained to eat it EVERY night."
netfliks a while back. they presented this japanese artist of fame who is know for his traditional ink paintings. during the interview he demonstrated his process which is very much like the movements in martial arts. the brush strokes were likened to sword movements. made a lot of sense to me. work the way i am on this is allowing me to loosen up a bit.
not sure how i will combine this new knowledge with my digital stuff yet.
to date i have 8 paintings/studies done.
what they are:
an attempt to develop a more expressionistic brush stroke technique
how have i achieved this?
by getting 20 pints of pre-colored house paint (free or cheap) to paint with. the logic being that i can financially afford to take risks - squander materials to get to a different place artistically. in general i can be very tight/controlled - almost rendering in nature. working in acrylic is one reason for this as the quick dry can be unforgivable if heavily applied + the cost of good paint/materials. "almost free" removes that barrier to enable me to find the "next one."
results: i have fun anytime i am painting. what is new to me in this is the parameters of the pre-tinted paint & it's consistency & opacity. it instantly has it's "own look" which is different that what i normally do. i could develop a whole style using this technique. think i will need to paint under numerous names to indulge in the range of styles/mediums i like to work in :) "it much like pizza - i LOVE it - yet would be pained to eat it EVERY night."
netfliks a while back. they presented this japanese artist of fame who is know for his traditional ink paintings. during the interview he demonstrated his process which is very much like the movements in martial arts. the brush strokes were likened to sword movements. made a lot of sense to me. work the way i am on this is allowing me to loosen up a bit.
not sure how i will combine this new knowledge with my digital stuff yet.
mentor update
mentor stuff
mentor info has been 2nd day posted last monday to aib & an email conformation was received back from aib yesterday.
+
today i got an email from my soon to be mentor (glenn hirsch) that he had mailed off a form yesterday as well.
now:
all that is needed to complete the required arrangement is the mailing/signing of the contract!!!!
next stop:
talk to academic adviser (deborah davidson) next monday eve
schedule meeting with mentor
breakdown semester agenda into mini steps\\create a potential schedule for mentor to view my artwork
figure out what i am going to write about for the next paper
fine tune my "working artist statement"
digitally capture studies to email to whomever (mentor/adviser) & maybe post "here"
mentor info has been 2nd day posted last monday to aib & an email conformation was received back from aib yesterday.
+
today i got an email from my soon to be mentor (glenn hirsch) that he had mailed off a form yesterday as well.
now:
all that is needed to complete the required arrangement is the mailing/signing of the contract!!!!
next stop:
talk to academic adviser (deborah davidson) next monday eve
schedule meeting with mentor
breakdown semester agenda into mini steps\\create a potential schedule for mentor to view my artwork
figure out what i am going to write about for the next paper
fine tune my "working artist statement"
digitally capture studies to email to whomever (mentor/adviser) & maybe post "here"
new berger book
the sense of sight by berger arrived today. it is a collection of essays that appears to focus on specific artist's motivation to paint/create. i hope it will help me to define my own patterns in this
new book + miro + yosemite
got rained out at yos/glen aulin on the backpack trip. rain hit while swimming below the cascades while young trout darted curious around our legs. it was a bit surreal being out in a pool with the sound of rain hitting the water intermittent with lightening and thunder. fear of strikes on the water caused us to move under a cluster of trees to dry off enough to put on shoes/socks while waiting for the storm to lighten.
watched a joan miro dvd & did learn new stuff about him. saw work of his i had not found in books. love his studio set up (is still intact/a museum). see his influence in my work (more so in years past).
book arrived:
the spiritual in art abstract painting: 1890-1985 < loved it!!! it was the first book that arrived that i felt an affinity toward. i rarely ooooh & ahhhh page after page when there are numerous artists. think this will help me to define what i have been doing & actively choose where i will go...
watched a joan miro dvd & did learn new stuff about him. saw work of his i had not found in books. love his studio set up (is still intact/a museum). see his influence in my work (more so in years past).
book arrived:
the spiritual in art abstract painting: 1890-1985 < loved it!!! it was the first book that arrived that i felt an affinity toward. i rarely ooooh & ahhhh page after page when there are numerous artists. think this will help me to define what i have been doing & actively choose where i will go...
Monday, July 23, 2007
reading update
way of seeing - berger:
still "ok" - meaning that there is a nice tidbit here & there, yet not enough new info to captivate me. on the other hand it is nice to shift to after reading danto!!!
need to look up "psuedo-marxist mysticism" < style="font-weight: bold;">unatural wonders: essays from the gap between art & life - danto:
spent a good while on his intro - 16pgs "criticism after the end of art"
very dense, very well written < which is why i needed to linger over it. it has answered questions i've harbored, fleshed out some details & created new questions. i also snagged a few quotes in my notes that could be of use in a future paper.
still "ok" - meaning that there is a nice tidbit here & there, yet not enough new info to captivate me. on the other hand it is nice to shift to after reading danto!!!
need to look up "psuedo-marxist mysticism" < style="font-weight: bold;">unatural wonders: essays from the gap between art & life - danto:
spent a good while on his intro - 16pgs "criticism after the end of art"
very dense, very well written < which is why i needed to linger over it. it has answered questions i've harbored, fleshed out some details & created new questions. i also snagged a few quotes in my notes that could be of use in a future paper.
museums
galleries & museum visits
june 07
-----------
california
---------------
california
oakland museum
hearst gallery at st mary's college - moraga
june 07
-----------
california
- monterey museum of art - monterey
- carmel art association - members annual group show - carmel
- pacific grove art center - pg
- lisa cocino gallery - pg
- robert lewis gallery - pg
- outer edge - monterey
- harvard art museums
- gardner museum
- mfa - boston
- young contemporaries (bu gallery on commonwealth)
- various galleries on newbury (too many to mention)
- all of the "freedom trail" in which some venues display early american or european art
- aib andover field trip - wegman exhibit & permanant collection.
---------------
california
oakland museum
hearst gallery at st mary's college - moraga
Saturday, July 21, 2007
life is messy
backpack trip to yos postponed due to:
elderly parent stuff:
hate moving > me or anyone else!!! hell hath broke loose. i went to see the assisted & elderly living apartment they had selected (god's waiting room). it was kinda nice & kinda creepy. it was 10 min away from any town & surrounded by walnut orchards & processing plants. they have swimming pools, theatre (with popcorn machine), dining, game room, fitness rooms, restaurants, hair salons, shopping ++++ there was something disturbing in it all. like moving to a mall or old person's amusement park - generic & absent of history, family,life. if "life imitates art" then what would this be/look like? what can i do with it? it = place, their situation, my reaction...
horse injury:
a farrier came out to trim horse feet & in a pissy mood freaked them out ( easy to do on young ones in a herd environment), anyhoo the results were a 2yr old with her legs tangled in a metal feeder that torn skin & tendon sheath. the sutures started at the hock & ended at the fetlock. after numerous vet call it looks like there is a chance that she will not be completely crippled. she may have hip/back/tendon troubles in the future. this mare's family lives & functions well into their mid/late 20's > but not like this?). finger are crossed that it gets better.
reading:
underwhelmed by the berger "ways of seeing" book. so far it is a quick & dirty application of social psychology & ethics in technology applied to how art is viewed/processed. while this was recommended to me by many i would not "share the love" since it makes no sense to use a blurb from a middle man when i can go to the source > research it myself. guess there is a dvd ( may rent as well). Upside: on a mental tangent i came up with an idea for a perception themed series. i wrote it down while waiting to donate blood at a delta blood bank. some of my notes i wrote while "pumping away." in hindsight, that all seems odd - yet i have learned the hard way that if i do not write it down then/now & thoroughly with notes/drawings that it will be gone forever.
more books:
landscape & memory - simon schama
seems to be a series of speculations/reflections on depicting nature in art. think i will like it.
art on the edge and over - weintraub
"searching for art's meaning in contemporary society 1970's-1990's. think this could be a good resource for "getting" the mindset of sorta current 'provocative artists. i need all the help i can get.
the archive: documents of contemporary art - merewether
looks to be essays by hoity-toity people/artist in art = more stuff to learn & spew. wish i liked this stuff. am try'n hard to develop a passion for it, yet am hard pressed at the moment. so far i have encountered anything new in this realm. having been passionate for years about art & on acting on that passion devoured libraries for decades - i had put it all behind me. my choice had been total submersion in history/theory/mediums & then try to forget it. the reason in this is that one can not forget since one perception has been altered by learning/exposure it can not be unlearned. give this view, it made sense to trust that i have what i need & mindlessly jump in & create to see what i can do with it. that by being spontaneous i would get past the conscious/contrived to the real me & the real synthesis of what i did get out of years of study/life experience/my unique view. feel like getting sent back a few grades for doing badly in school. just thought that was behind me...
art now - taschen resource/reference art guide-ish
styles, schools and movents - dempsey. "the essential encyclopaedic guide to Modern Art" < style="font-weight: bold;">art in the modern era: a guide to styles, schools & movements - also by dempsey (see above). sound like the same damn book i bought above!!!!!! hope it is A LOT different. so far, the other has more/dif pictures...
Art videos to watch (from netfliks):
the highwaymen: florida's outsider artists - like outsider stuff. familiar in ca/nv/or, yet know nothing of fl outsider art. given the nature of technology, this art form maybe short-lived (& precious) since "cultural homogenization" is probable.
joan miro - constellations: the color of poetry - think i rented/watched this a few years back...so much for memory :( contex has changed - so perhaps my gleaning will differ as well?
studio related stuff:
working on my "current working statement" for this upcoming body of images.
bought 9 - 11x 14 gessoed hardboard panels & 10 - 16x 20 to use for quick studies each morning. i want to do quick gestural paintings to explore expressionistic/painterly brush strokes. since paint is so friggin expensive i got qts of rejected colored house paints FREE!!! i have about 20 colors now & will transfer to sm yogurt containers so that i can try plein aire as well. there is a paint -by - number vibe to all of this for me. by this i mean that the last time i have painted with pre-mixed paint was on paint by numbers as a child. they were oil, images were of puppie/kitties & i was 7 & loved it. anyhoo, there is a sense of cheating by not mixing my colors. then again, have not painted with them yet. the logic is that cost may be hampering my growth in painting. i am excited to do this. even if i do not apply any gained knowledge from this on the final project this semester > it will payoff on some level somewhere down the road - always does...
backpack trip: will leave this tues & return fri. looks like i will be taking my 13 yr boy & my 21 yr daughter. building good memories for all...
elderly parent stuff:
hate moving > me or anyone else!!! hell hath broke loose. i went to see the assisted & elderly living apartment they had selected (god's waiting room). it was kinda nice & kinda creepy. it was 10 min away from any town & surrounded by walnut orchards & processing plants. they have swimming pools, theatre (with popcorn machine), dining, game room, fitness rooms, restaurants, hair salons, shopping ++++ there was something disturbing in it all. like moving to a mall or old person's amusement park - generic & absent of history, family,life. if "life imitates art" then what would this be/look like? what can i do with it? it = place, their situation, my reaction...
horse injury:
a farrier came out to trim horse feet & in a pissy mood freaked them out ( easy to do on young ones in a herd environment), anyhoo the results were a 2yr old with her legs tangled in a metal feeder that torn skin & tendon sheath. the sutures started at the hock & ended at the fetlock. after numerous vet call it looks like there is a chance that she will not be completely crippled. she may have hip/back/tendon troubles in the future. this mare's family lives & functions well into their mid/late 20's > but not like this?). finger are crossed that it gets better.
reading:
underwhelmed by the berger "ways of seeing" book. so far it is a quick & dirty application of social psychology & ethics in technology applied to how art is viewed/processed. while this was recommended to me by many i would not "share the love" since it makes no sense to use a blurb from a middle man when i can go to the source > research it myself. guess there is a dvd ( may rent as well). Upside: on a mental tangent i came up with an idea for a perception themed series. i wrote it down while waiting to donate blood at a delta blood bank. some of my notes i wrote while "pumping away." in hindsight, that all seems odd - yet i have learned the hard way that if i do not write it down then/now & thoroughly with notes/drawings that it will be gone forever.
more books:
landscape & memory - simon schama
seems to be a series of speculations/reflections on depicting nature in art. think i will like it.
art on the edge and over - weintraub
"searching for art's meaning in contemporary society 1970's-1990's. think this could be a good resource for "getting" the mindset of sorta current 'provocative artists. i need all the help i can get.
the archive: documents of contemporary art - merewether
looks to be essays by hoity-toity people/artist in art = more stuff to learn & spew. wish i liked this stuff. am try'n hard to develop a passion for it, yet am hard pressed at the moment. so far i have encountered anything new in this realm. having been passionate for years about art & on acting on that passion devoured libraries for decades - i had put it all behind me. my choice had been total submersion in history/theory/mediums & then try to forget it. the reason in this is that one can not forget since one perception has been altered by learning/exposure it can not be unlearned. give this view, it made sense to trust that i have what i need & mindlessly jump in & create to see what i can do with it. that by being spontaneous i would get past the conscious/contrived to the real me & the real synthesis of what i did get out of years of study/life experience/my unique view. feel like getting sent back a few grades for doing badly in school. just thought that was behind me...
art now - taschen resource/reference art guide-ish
styles, schools and movents - dempsey. "the essential encyclopaedic guide to Modern Art" < style="font-weight: bold;">art in the modern era: a guide to styles, schools & movements - also by dempsey (see above). sound like the same damn book i bought above!!!!!! hope it is A LOT different. so far, the other has more/dif pictures...
Art videos to watch (from netfliks):
the highwaymen: florida's outsider artists - like outsider stuff. familiar in ca/nv/or, yet know nothing of fl outsider art. given the nature of technology, this art form maybe short-lived (& precious) since "cultural homogenization" is probable.
joan miro - constellations: the color of poetry - think i rented/watched this a few years back...so much for memory :( contex has changed - so perhaps my gleaning will differ as well?
studio related stuff:
working on my "current working statement" for this upcoming body of images.
bought 9 - 11x 14 gessoed hardboard panels & 10 - 16x 20 to use for quick studies each morning. i want to do quick gestural paintings to explore expressionistic/painterly brush strokes. since paint is so friggin expensive i got qts of rejected colored house paints FREE!!! i have about 20 colors now & will transfer to sm yogurt containers so that i can try plein aire as well. there is a paint -by - number vibe to all of this for me. by this i mean that the last time i have painted with pre-mixed paint was on paint by numbers as a child. they were oil, images were of puppie/kitties & i was 7 & loved it. anyhoo, there is a sense of cheating by not mixing my colors. then again, have not painted with them yet. the logic is that cost may be hampering my growth in painting. i am excited to do this. even if i do not apply any gained knowledge from this on the final project this semester > it will payoff on some level somewhere down the road - always does...
backpack trip: will leave this tues & return fri. looks like i will be taking my 13 yr boy & my 21 yr daughter. building good memories for all...
Wednesday, July 18, 2007
off to take pictures & gather topic ideas
i plan to leave today to backpack out of yosemite!!! i try to do this as much as possible this time of year. the high sierra trails open july 1st & can shut down as early as sept 15 < not much of a time span.i hope to pack into glen aulin & maybe a side trip to may lake (again). it is a nice way to get away alone & think/plan. need to confirm fires & weather first (snow/hail can get sudden & nasty). fingers are crossed... i am taking one of the berger books on my proposal list :)
yesterday's mail > more books...
used books that arrived yesterday from amazon & assoc:
alan magee: paintings, sculpture, graphics < love it. his work is very tight & some of it is macabre which i can appreciate. i am intrigued by his output to tapestry & wonder if that is something that is relatively economical in asia - like julia scher's mfg stone scuptures of dogs or hats?
-----------------------
social psychology 2007-2008 (annual editions) < often used as text in college psych/soc courses (how i encounter it). it contains a mix of professional journals, academic research, or periodical article reprints.
chapter headers:
research issues
the self
social cognition and social perception
attitudes
social influence
social relationships
social biases
violence and aggression
altruism, helping and cooperation
group processes
-------------------------
machine in the studio: constructing the postwar american artist (carolina jones) < don't know much yet...
-------------------------
about looking (john berger) < art theory...
-------------------------
house of leaves (mark danielewski) < a novel recommended to me by numerous aib students. not sure what to expect
-------------------------
alan magee: paintings, sculpture, graphics < love it. his work is very tight & some of it is macabre which i can appreciate. i am intrigued by his output to tapestry & wonder if that is something that is relatively economical in asia - like julia scher's mfg stone scuptures of dogs or hats?
-----------------------
social psychology 2007-2008 (annual editions) < often used as text in college psych/soc courses (how i encounter it). it contains a mix of professional journals, academic research, or periodical article reprints.
chapter headers:
research issues
the self
social cognition and social perception
attitudes
social influence
social relationships
social biases
violence and aggression
altruism, helping and cooperation
group processes
-------------------------
machine in the studio: constructing the postwar american artist (carolina jones) < don't know much yet...
-------------------------
about looking (john berger) < art theory...
-------------------------
house of leaves (mark danielewski) < a novel recommended to me by numerous aib students. not sure what to expect
-------------------------
Tuesday, July 17, 2007
art videos/dvds/shows i watched this week
art:21 seasons one & two ( have seen a few times before - just though my perspective toward it may have change in light of residency & my upcoming work)
aspect: the chronicles of new media art, vol 8 2007 (have seen before > just on a roll...)
jasper johns: ideas in paint (saw this last year & wanted to watch it again)
watched on tv/pbs: david (fell asleep in the middle of it due to a full belly & comfy couch)
--------------
last 2 week i watch artist documentaries on netfliks dvds of:
rebrandt, reynolds, gainsbourogh, constable, van dyck, brugel
aspect: the chronicles of new media art, vol 8 2007 (have seen before > just on a roll...)
jasper johns: ideas in paint (saw this last year & wanted to watch it again)
watched on tv/pbs: david (fell asleep in the middle of it due to a full belly & comfy couch)
--------------
last 2 week i watch artist documentaries on netfliks dvds of:
rebrandt, reynolds, gainsbourogh, constable, van dyck, brugel
books from library
theory:
arthur c. danto's: after the end of art; contemporary art and the pale of history
& unnatural wonders: essays from the gap betwen art & life
(think i may need to own the dantos down the road)
new art city:manhatten at mid century (jed perl)
the contigent object of contemporary art (martha buskirk)
sometimes you just need to look at nice picture books (since theory/criticisms do not fall under the "fun" catagory)
so:
contemporary women artists (wendy beckett 1988)
thinking of you (barbara kruger)
local color: the di rosa collection of contemporary california art
art:21 art in the twenty-first century
basquiat (brooklyn museum)
arthur c. danto's: after the end of art; contemporary art and the pale of history
& unnatural wonders: essays from the gap betwen art & life
(think i may need to own the dantos down the road)
new art city:manhatten at mid century (jed perl)
the contigent object of contemporary art (martha buskirk)
sometimes you just need to look at nice picture books (since theory/criticisms do not fall under the "fun" catagory)
so:
contemporary women artists (wendy beckett 1988)
thinking of you (barbara kruger)
local color: the di rosa collection of contemporary california art
art:21 art in the twenty-first century
basquiat (brooklyn museum)
used books that came via amazon
theory in contemporary art since 1985 (edited by kocur & leung)
theories of modern art: a source book by artists & critics (herschel b. chipp)
after modern art 1945-2000 (david hopkins)
art: a matter of contex; writings 1975-2003 (bernar venet)
ways of seeing (john berger) < this one is listed on my academic proposal
art after conceptual art (editors:alberro & buchman)
design and art: documents of contemporary art (edited by alex coles)
hal foster: the return of the real
prosthetic gods
still waiting for more to come. most will be reference for studies (& future teaching) while a few may be cited on proposals in future semesters.
theories of modern art: a source book by artists & critics (herschel b. chipp)
after modern art 1945-2000 (david hopkins)
art: a matter of contex; writings 1975-2003 (bernar venet)
ways of seeing (john berger) < this one is listed on my academic proposal
art after conceptual art (editors:alberro & buchman)
design and art: documents of contemporary art (edited by alex coles)
hal foster: the return of the real
prosthetic gods
still waiting for more to come. most will be reference for studies (& future teaching) while a few may be cited on proposals in future semesters.
things to ponder from potential mentor's email
ISSUES IN CONTEMPORARY PAINTING
Abstraction
Improvisation or mathematical procedure … blends of “real” and “abstract?”
Materials
As subject matter (texture, found objects, assemblage, or digital)
Art History (Europe)
Art which refers to European art history in theme and composition
Art History (Not Europe)
Global culture, “Third World,” folk art, “outsider” art, children
The Body
Allegory (figure) or Individual Identity (in portraits)
Psychology
Dream, Myth, Archetype, Shamanistic traditions...
Landscape
Fact, Fantasy, Utopia. Abstraction; Nature Untamed, or Nature Destroyed
Politics - society
Sociology, history, war and peace
Politics - identity
Gender and race
Politics – technology
Science as subject or as procedure
Pop Art
Low Culture and High Culture
Public Spaces
Institutional art, installation, time-based, community collaboration
LIGHT
• dramatic light (brilliant with hard cast shadows)
• dreamy light (foggy with soft cast shadows)
• mystical light (glowing from within)
• spiritual light (streaming down from heaven)
Abstraction
Improvisation or mathematical procedure … blends of “real” and “abstract?”
Materials
As subject matter (texture, found objects, assemblage, or digital)
Art History (Europe)
Art which refers to European art history in theme and composition
Art History (Not Europe)
Global culture, “Third World,” folk art, “outsider” art, children
The Body
Allegory (figure) or Individual Identity (in portraits)
Psychology
Dream, Myth, Archetype, Shamanistic traditions...
Landscape
Fact, Fantasy, Utopia. Abstraction; Nature Untamed, or Nature Destroyed
Politics - society
Sociology, history, war and peace
Politics - identity
Gender and race
Politics – technology
Science as subject or as procedure
Pop Art
Low Culture and High Culture
Public Spaces
Institutional art, installation, time-based, community collaboration
LIGHT
• dramatic light (brilliant with hard cast shadows)
• dreamy light (foggy with soft cast shadows)
• mystical light (glowing from within)
• spiritual light (streaming down from heaven)
Monday, July 16, 2007
blog one:
Art Institute of
Limited Residency MFA Program
First Residency Reflections
Group One orientation:
It was nice to arrive a day early (Thursday), meet my peers and the AIB administration. Judith Berry and Louise Goldberg were extremely effective in their efforts to make us feel at ease and informed on the activities to come. The opportunity to take a break, eat and interact with classmates was a thoughtful and effective gesture.
Critical theory:
Stewart did a good job of covering the readings, while weaving the evening’s artist talks into the discussion. I felt confident in my knowledge when the art history he presented was no more than review for me. It is an affirmation that my previous studies and personal research efforts have prepared me for the program at AIB. Naturally the time restraints limited the depth of some discussions. On the other hand, this fueled Group One discussions after hours at
Portfolio presentation:
This presentation was the only negative experience for me. It was inconceivable to me that an institution would not have Adobe acrobat installed. While the professional version is commonplace on systems that install the Adobe Suites, the adobe PDF reader is a free download. Due to production efficiency, file size, and alterability (pirating) power point has fallen into disuse at many institutions. Consequently I put together a quick “plan b” (from JPEGs on my laptop) and abandon my notes. I feel it was my fault making the assumption that acrobat reader would be readily available. Reflecting on my anxiousness while presenting, I am considering taking up a class or workshop to hone my public speaking skills. Attending the evening artist talks brought home the importance of presenting oneself in an actively chosen light.
Faculty panel:
- Loved it
- Love the issues addressed
- I have been a huge fan of Purcell and really enjoyed learning more
- I feel it was an opportunity to learn more about the presenter/faculty’s nature
- The exchanges that took place between the panel and audience gave me much to think about in my present and future work.
Artist talks:
- Enjoyed Most: Dike Blair (due to imagery and delivery)
- Enjoyed Least: Michael Newman (due to imagery and delivery)
- While the Maureen Gallace talk was by far the worst, I was engaged by the audience’s reaction to her inability to talk about her work. It brought home the importance of the need to be articulate, expressive, and engaging as a speaker and artist. Ms. Gallace’s talk fueled dynamic discussions at
Graduate student presentations:
I felt privileged to attend these presentations. Not only did they give insight into AIB outcomes, they gave me cause to define my personal goals within this program. Later during critiques with Graduating students I felt more informed about their work and therefore more able to glean from their insight and recommendations.
Critiques:
Observations/responses to my work:
Digital Images
- Would love to see them printed big
- This gray scale image would make an interesting painting
- I do not see “you” in these images as I do in your paintings
“Weeds” (3 acrylic paintings on masonite or canvas)
- They have ethereal quality also found in your mural “3 Graces.”
- There is a sense of veiling in these images
- It feels like it is about an experience rather than just studies.
“Venus Transparent” (acrylic on masonite door)
- My throat felt tight when I first considered her
- At first I thought “not another Venus painting,” yet her transparency and surrounding sucked me in – challenged me to take her seriously
- She does challenge or confront the viewer
- I am repulsed and attracted to her simultaneously
- Artistic Influences cited (in “Venus”) by peers:
- Botticelli
- Braque
- Klimt
- Geiger
Questions that came up in critiques:
(Stated as questions to ask self to determine direction and assess results)
- Where do your interests emerge?
- What kind of painter do you want to be?
- What ultimately is your medium?
- Do I have any core set of issues?
- Is digital montage the direction to go in?
- What is (will be) your “question” (theme of exploration in body of work)?
Suggestions given:
- For six weeks: Create list/word doc. And collect topic/ideas for my subject/thesis (ex: nature, corners, toilet…)
- Create a list of what I hate (artists, styles, subjects, colors) you can learn as much about yourself from what you don’t like as what you do--then challenge these assessments.
- Do something I would never do – make a list of my current rules/parameters and break 2 on a new project.
- Try self portrait every day for at least a month (repetition, consistency, systems)
- Paint portraits of my children as objects and try to capture their personality
- Create imagined space (like my public murals) in a virtual 3d environment (3dMax/Sketchup software), possibly a fly through or animation (time base) so that one can experience art within the space. Think about creating site specific works this way. Could use with past murals or for new projects.
- Identify your “question” – create 4-5 questions to address when viewing art and analyzing/developing mine.
Cautions:
- If I choose to go the digital time base route I must consider time learning new software (extremely time consuming). Cost of software and equipment needed for display is also a consideration.
- Combining paint with digital art is extremely difficult to do well and hard to maintain the unique identities of each medium. It may help to set application and parameters for use of each medium to determine the best route for this kind of exploration. Final output will be a key factor in your decisions.
- Keep shipping (costs/difficulties), display space here (AIB), and future exhibition opportunities in mind when formulating your new project. Keep in mind the downside to working large. Un-stretching canvas after completion is one solution.
Artist to look at:
David Bradshaw
Julia Hoffman
Alon Langotsky
Tony Qursyiz
Steve Stone
Samantha Thoran
Steve Tobin
Sarah Walker
Darren Waterson
Jerome Witkin
Meals:
- Whole foods was awesome. I hope they will be engaged next January.
- Having all meals attended to was a blessing. I would have skipped meals and squander time in the pursuit of nourishment. Such activities would have taken its toll over the ten days.
Conclusion:
I feel a personal transformation took place over the ten days of residency. I gleaned clarity in my work (and proposed project), as well as collecting innovative suggestions that I am anxious to try. Encountering a cornucopia of creative minds and unique perspectives was a new, welcome, and challenging experience for me: I am richer for this experience, thank you.
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