have not been here for some time...
the update:
studio: lots of computer images, prints, paint
aib academic adviser: finished & submitted 2 papers (research/reflections) & spoke on the phone with deborah davidson. all is well :)
aib studio mentor: met with glenn hirsch at sfai. he was happy with my efforts & offered insight/ideas for this last leg + replication & presentation possibilities for these images.
what i learned:
print outputs > that i needed to change my images even more for print & transparency use. spent days manipulating the images i had been using to translate to transparency. did this by clarifing the darks/midtones that would go black/high contrast when printed. added film grain/noise to allow light to pass. killed black & anything close as i can add that if needed. added a grid pattern that inverts for dark/light. took so long cuz of the filesize. to get all 3 images alike it made more sense to work with them on the same layer. so it was 9ft wide at 300 rez. even as a grayscale my laptop choked often>>> had to clear 1/3 of my hard drive & use the purge all option between each filter. could have setup/recorded actions, yet would have wasted more time trying to remember how to do it + having to tweak individual images after.
paint>
to have a huge stash of materials prior to starting a project. had a 1/2 gal of gel medium when i started & am now at the bottom of my 3rd gal. had to buy from texas as the stuff was backordered bigtime in northern calif. art stores now days only special order this size.
did learn a lot through using the same images over & over. have never done that in paint. taking each round in a new direction/scale/process got me to new places > which has fuel yet more directions/ideas to explore. forcing myself to work with a palette i tend to skirt was good for me as well. think it was jasper johns that talked about forcing himself to do this & the payoffs he got from it.
research> will write a blog for this as there is way too much to mention.
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next:
do more printouts. mentor glenn wants me to bring the stuff i presented as is to present to his class. so in the meantime i plan to do some more & take them further. + have new project idea i want to gather images for & experiment on before i forget it/loose my groove.
meet for final with mentor next week. will bring the same art + new + brief artist statement (1/2pg) + food (potluck!)
write artist statement & reading list > due dec 14th
figure out shipping of artwork
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every is going great. exhausted at the moment from the whirlwind tempo for the past 3 weeks. the past 5 days have been intense on the studio work as i presented them yesterday.
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none aib stuff:
my poster & buttons come out for first night monterey this week. there was a local feature on it i missed a few days ago (tv died & was painting)
tomorrow: opening/reception for a groupshow i am in at the monterey museum of art
maria motherwell book: finally going to print!!! trying to get a release to use one of his paintings of her for the cover.
really need to deep my clean house :( life get in the way of art (& apparently vise versa) need to catch up on all the other fronts.
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Thursday, November 29, 2007
Monday, November 5, 2007
painting
still prepping printouts :(
did around 3 coats on the backside of prints/fabric. last coat sunday morn.
today: glossy medium/varnish as a sealer to the front/image of each. did white areas first & fairly heavy to seal + prevent the black from smearing. once this was dry i did a heavy coat of gloss gel with a 5 inch wide putty knife. had a few wrinkles that were blended as well as creating interesting texture.
is taking forever to dry. think i will hold off until tomorrow to touch.
next:
another coat of gloss medium/varnish to seal/knock down texture & then a brush application of glossy gel. may do a 2nd putty knife coat to modify texture. i did all with the knife with vertical strokes> so i do have ridges (which may be desireable). may do a 2nd coat horizontal to create a grid effect that would reference the sq format as well as the digital/pixel element to this work/process.
buy another gallon of glossy gel :(
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did a gel/putty knife coat to the 30x30 blue glazed/clear gesso image i deem as a failure from the first paint round. my intention is to remove the paper once it is really dry. i saw an example & think it may be interesting. thought it wise to try on something that i don't care about before messing with something i create with this process in mind.
think it will need to dry/cure at least a week before messing with it. hope i have time to do this + create intended in time to dry, remove paper & have ready to present by nov 14 :(
once stuff looks dry/clear i could set up a box fan to circulate air & speed up curing time?
---
did around 3 coats on the backside of prints/fabric. last coat sunday morn.
today: glossy medium/varnish as a sealer to the front/image of each. did white areas first & fairly heavy to seal + prevent the black from smearing. once this was dry i did a heavy coat of gloss gel with a 5 inch wide putty knife. had a few wrinkles that were blended as well as creating interesting texture.
is taking forever to dry. think i will hold off until tomorrow to touch.
next:
another coat of gloss medium/varnish to seal/knock down texture & then a brush application of glossy gel. may do a 2nd putty knife coat to modify texture. i did all with the knife with vertical strokes> so i do have ridges (which may be desireable). may do a 2nd coat horizontal to create a grid effect that would reference the sq format as well as the digital/pixel element to this work/process.
buy another gallon of glossy gel :(
---
did a gel/putty knife coat to the 30x30 blue glazed/clear gesso image i deem as a failure from the first paint round. my intention is to remove the paper once it is really dry. i saw an example & think it may be interesting. thought it wise to try on something that i don't care about before messing with something i create with this process in mind.
think it will need to dry/cure at least a week before messing with it. hope i have time to do this + create intended in time to dry, remove paper & have ready to present by nov 14 :(
once stuff looks dry/clear i could set up a box fan to circulate air & speed up curing time?
---
sf open studio 11.04.07
overview:
glad i went.
as always i am visually overwhelmed after going through building 101 & have little desire to visit the 5 other buildings.
some of my favorite stuff was what i saw when i first walked in. not sure if some of this is because i was fresh or because the better artists make more money & can afford the prime studios or have those studios because they have been at it longer & are still kicking because they are good.
jan, an aib student also, met me there. it was fun looking at presentation ideas there in terms of what we will do in jan 08. there were a few imaginative displays/ideas, yet most were what you would expect for a studio space suddenly converted to gallery mode.
got free guide & collected tons of post/business cards to ck out later. this is useful for graphic design ideas/layouts/solutions as well. some stuff looks great in print & are no big deal in person.
what was dif from 3 yrs ago:
more encaustic
more big bright murals with a street art/grafitti vibe
less figurative
less photography
more digital that went beyond chessey photoshop filters
less sculpture
less assemblage type sculpture
more organic themes
more square formats (rather than rectangle/traditional golden mean ratios)
more political/anti war
fewer overt gay/lesbian stuff
less functional art
more airbrush
more asian art/zen influences
less graphic type of paintings (large areas/shapes of single colors)
more dripping/runny paint, more glazing
less fiber/fabric arts/soft sculpture
how this relates to me:
saw stuff in the realm of what i have been doing.
does this mean i am "of my time" or just hooked into a trend?
is this good, bad, inevitable?
what should i do about it?
---
glad i went.
as always i am visually overwhelmed after going through building 101 & have little desire to visit the 5 other buildings.
some of my favorite stuff was what i saw when i first walked in. not sure if some of this is because i was fresh or because the better artists make more money & can afford the prime studios or have those studios because they have been at it longer & are still kicking because they are good.
jan, an aib student also, met me there. it was fun looking at presentation ideas there in terms of what we will do in jan 08. there were a few imaginative displays/ideas, yet most were what you would expect for a studio space suddenly converted to gallery mode.
got free guide & collected tons of post/business cards to ck out later. this is useful for graphic design ideas/layouts/solutions as well. some stuff looks great in print & are no big deal in person.
- saw lame work that was well presented & sold itself well
- & saw great work that was poorly displayed.
- in general, most put way too much stuff up. think painting the walls to organize or visually break up space/group could have helped this. renting or building partitions to freestand away from or off of the walls could have improved the environment while increasing surface area.
- it was interesting to see artist's work that i have followed for years. some went off in directions i did not foresee. most>more of the same.
what was dif from 3 yrs ago:
more encaustic
more big bright murals with a street art/grafitti vibe
less figurative
less photography
more digital that went beyond chessey photoshop filters
less sculpture
less assemblage type sculpture
more organic themes
more square formats (rather than rectangle/traditional golden mean ratios)
more political/anti war
fewer overt gay/lesbian stuff
less functional art
more airbrush
more asian art/zen influences
less graphic type of paintings (large areas/shapes of single colors)
more dripping/runny paint, more glazing
less fiber/fabric arts/soft sculpture
how this relates to me:
saw stuff in the realm of what i have been doing.
does this mean i am "of my time" or just hooked into a trend?
is this good, bad, inevitable?
what should i do about it?
---
Friday, November 2, 2007
golden acrylic demo
attended a 2 hr demo by a bay area artist demo of golden products. did learn a few things, get some questions answered that artstore people (who were there) could not give me in the past. man this is a small town. did not know everyone, yet have seen all at various art functions about town.
liked/learned from the comparative examples of the various mediums/glazes
got a new idea:
i may use for 3 of my prints> after coating the bw kinko print with soft gel a bunch one can remove the paper & the pigment will remain. the example there was of a bw of one of her paintings & had not been painted on>>>sort of a xray quality to it. i like the transparency of it, yet would want to add transparent color i think. if nothing else one would be able to get rid of the crappy bond paper & gesso the back or adhere it to canvas, wc paper, or ? if the transparency remained one could backlight it, hang it, layer it. would need to buy their soft gel to do this.
not big on the texture gel stuff as i have messed a lot with creating my own in the past & can not see spending $$ for something i would not use often.
did like the crackle stuff, yet would prefer it was clear > more diverse application & conducive to mixmedia.
all the sparkly/metalic/irridecent/inference stuff is pretty, yet i shy away from it as an option in art>>>seems to have a fad/trendy stigma attached to it's use. great if i was painting rainbows & unicorns. may work as an underpainting, have tried some & kinda like the bronze, yet fought with it a bit. think i would rather paint on a sheet of metal or leaf if i were to go that route.
guess i just like dirt too much. have added burnt bone, ash, clays to gel medium years ago to use as paint when experimenting with organic type stuff. had a idea of being able to take a few things backpacking & then use whatever was around to create with.
years ago in a class i had an assignment to create something that:
liked/learned from the comparative examples of the various mediums/glazes
got a new idea:
i may use for 3 of my prints> after coating the bw kinko print with soft gel a bunch one can remove the paper & the pigment will remain. the example there was of a bw of one of her paintings & had not been painted on>>>sort of a xray quality to it. i like the transparency of it, yet would want to add transparent color i think. if nothing else one would be able to get rid of the crappy bond paper & gesso the back or adhere it to canvas, wc paper, or ? if the transparency remained one could backlight it, hang it, layer it. would need to buy their soft gel to do this.
not big on the texture gel stuff as i have messed a lot with creating my own in the past & can not see spending $$ for something i would not use often.
did like the crackle stuff, yet would prefer it was clear > more diverse application & conducive to mixmedia.
all the sparkly/metalic/irridecent/inference stuff is pretty, yet i shy away from it as an option in art>>>seems to have a fad/trendy stigma attached to it's use. great if i was painting rainbows & unicorns. may work as an underpainting, have tried some & kinda like the bronze, yet fought with it a bit. think i would rather paint on a sheet of metal or leaf if i were to go that route.
guess i just like dirt too much. have added burnt bone, ash, clays to gel medium years ago to use as paint when experimenting with organic type stuff. had a idea of being able to take a few things backpacking & then use whatever was around to create with.
years ago in a class i had an assignment to create something that:
- super cheap that could be constructed with assessable materials
- that was easy to make & fulfilled a need
- targeted a specific, marginalized group (3rd world)
- honored their culture somehow
studio update>>>11.01.07
yesterday:
finished creating files in the morn & went to kinkos to printout in the eve. the 36x36 came out a little streaky in the black areas. not sure this will matter. got 2 sets of the 3 to take in 2 dif directions. one will mimic the first version as a departure point while i plan to experiment more & possibly screw up the 2nd>>>no pain no gain, yet for school one needs to have something in hand.
got prices for color printing my preliminary work as 1 f t x 8 or 10ft banners>blk background & uniform images in sequence> same ones on blog image link. reason being: to show where this stuff is coming from & to get better feedback. thinking of maybe folding/creasing the banners so that there is an accordion effect. if i have three i can alternate to give it a 3d/installation vibe. using bond paper which is kinda lame would cost around $300. on the bright side i can cut them after into pages for documentation. the downside to digital stuff is in the sharing. i could get one or more of those digital picture frames? yet the banner idea would echo the totem painting collage i am working on & may exhibit (tall vertical format). need to know fast so i can tell louise my needs!!!
today: mount some of the prints to fabric. not sure if i want to cut first or after. they are big & the space to work isn't. if i do not cut it would be easier to keep the excess intact to use to back the totem stuff? cutting anything has always been an weakness > so i am a bit anxious on this.
+ i am not sure if i should apply stuff to the fabric & then the print to it or vice versa.
& if i should do small sections at a time & weight it or all at once> use a rolling pin & weight it all with books/bricks?
should i pushpin (fabric out) to the wall & put clips at the bottom for weight or lay flat with books? may not need it, yet am concerned that it doesn't stick to anything. may use books at first & then remove, followed by moving them now & then a tad to make sure they are not binding to anything. new territory for me.
finished creating files in the morn & went to kinkos to printout in the eve. the 36x36 came out a little streaky in the black areas. not sure this will matter. got 2 sets of the 3 to take in 2 dif directions. one will mimic the first version as a departure point while i plan to experiment more & possibly screw up the 2nd>>>no pain no gain, yet for school one needs to have something in hand.
got prices for color printing my preliminary work as 1 f t x 8 or 10ft banners>blk background & uniform images in sequence> same ones on blog image link. reason being: to show where this stuff is coming from & to get better feedback. thinking of maybe folding/creasing the banners so that there is an accordion effect. if i have three i can alternate to give it a 3d/installation vibe. using bond paper which is kinda lame would cost around $300. on the bright side i can cut them after into pages for documentation. the downside to digital stuff is in the sharing. i could get one or more of those digital picture frames? yet the banner idea would echo the totem painting collage i am working on & may exhibit (tall vertical format). need to know fast so i can tell louise my needs!!!
today: mount some of the prints to fabric. not sure if i want to cut first or after. they are big & the space to work isn't. if i do not cut it would be easier to keep the excess intact to use to back the totem stuff? cutting anything has always been an weakness > so i am a bit anxious on this.
+ i am not sure if i should apply stuff to the fabric & then the print to it or vice versa.
& if i should do small sections at a time & weight it or all at once> use a rolling pin & weight it all with books/bricks?
should i pushpin (fabric out) to the wall & put clips at the bottom for weight or lay flat with books? may not need it, yet am concerned that it doesn't stick to anything. may use books at first & then remove, followed by moving them now & then a tad to make sure they are not binding to anything. new territory for me.
aib academic adviser meeting for october
deborah davidson phoned wed eve to discuss my last paper,this blog, & offered names of artist to look at.
writing:
this was really helpful to me as i have been a little confused on writing styles/agendas & whither or not i was "on the same page." i feel more comfortable with it now & less stress on the paper due in 2 weeks.
blog: has been a great tool for my academic agenda. it forces me to write/document what i am seeing/learning/doing which gives me clarity. it also gives my adviser & mentor insight into my mindset, agenda, imagery that they are more able to give productive feedback. for example, after reading my last paper & upon seeing some of my digital tree stuff posted on the image link deborah was able to give me names of a few artists to research (early modrian landscapes/trees & corot >use of light/surface quality).
writing:
this was really helpful to me as i have been a little confused on writing styles/agendas & whither or not i was "on the same page." i feel more comfortable with it now & less stress on the paper due in 2 weeks.
blog: has been a great tool for my academic agenda. it forces me to write/document what i am seeing/learning/doing which gives me clarity. it also gives my adviser & mentor insight into my mindset, agenda, imagery that they are more able to give productive feedback. for example, after reading my last paper & upon seeing some of my digital tree stuff posted on the image link deborah was able to give me names of a few artists to research (early modrian landscapes/trees & corot >use of light/surface quality).
dvd: the collector:allen stone's life in art
netflix blurb:
Filmmaker Olympia Stone presents a cinematic portrait of her father, famed New York City gallery owner and art collector Allan Stone, in this fascinating documentary tracing his rise in the international art world from the 1950s to 2006. Regarded as a pioneering collector, Allan Stone was considered an expert on the work of Abstract Expressionists, particularly Willem de Kooning, Arshile Gorky, Barnett Newman and Franz Kline.
liked it. this guy was a major packrat. his huge house looks as cluttered/packed full as my garage or storage. his tastes are all over the place. not a bare spot on the wall as they were hung solid with art>>> even the doors! his collected art as well as cultural artifacts. he had mummified heads of a missionary & a tribal kings daughter displayed (open air) on a table.
the documentary focused on how he first encountered art as a ny lawyer & became a gallery owner. he shares stories of well know artists he has exhibited over the years.
what i like about this movie is that it is personal rather than academic speculation. his daughter (youngest of 6 girls) did a good job of sharing her unique point of view of this man, her unconventional childhood/home life, and got to the core of this man's passion/obsession with art.
how it relates to my stuff:
doesn't, yet found i was attracted to the personal sharing of this story. the interviews were revealing, heartfelt, and genuine>>>all very natural as if you were sitting in the room with friends. hard to do/pull off even for a daughter. it is this personal sharing/communicating with the viewer that i seek through image. there are works that succeed in this, yet distilling the iconic/visual techniques for communicating this quality is a challenge.
watching this dvd did give some insight into art from a gallery owners perspective. think he should have taken the leap & picked up a brush. i would be curious if he encouraged any of his daughter to pursue art. his youngest is in film, yet it seems offspring in general tend to skirt a parent's realm to stake out their own identity/independence in other fields.
6 daughters>>>there's a story.
Filmmaker Olympia Stone presents a cinematic portrait of her father, famed New York City gallery owner and art collector Allan Stone, in this fascinating documentary tracing his rise in the international art world from the 1950s to 2006. Regarded as a pioneering collector, Allan Stone was considered an expert on the work of Abstract Expressionists, particularly Willem de Kooning, Arshile Gorky, Barnett Newman and Franz Kline.
liked it. this guy was a major packrat. his huge house looks as cluttered/packed full as my garage or storage. his tastes are all over the place. not a bare spot on the wall as they were hung solid with art>>> even the doors! his collected art as well as cultural artifacts. he had mummified heads of a missionary & a tribal kings daughter displayed (open air) on a table.
the documentary focused on how he first encountered art as a ny lawyer & became a gallery owner. he shares stories of well know artists he has exhibited over the years.
what i like about this movie is that it is personal rather than academic speculation. his daughter (youngest of 6 girls) did a good job of sharing her unique point of view of this man, her unconventional childhood/home life, and got to the core of this man's passion/obsession with art.
how it relates to my stuff:
doesn't, yet found i was attracted to the personal sharing of this story. the interviews were revealing, heartfelt, and genuine>>>all very natural as if you were sitting in the room with friends. hard to do/pull off even for a daughter. it is this personal sharing/communicating with the viewer that i seek through image. there are works that succeed in this, yet distilling the iconic/visual techniques for communicating this quality is a challenge.
watching this dvd did give some insight into art from a gallery owners perspective. think he should have taken the leap & picked up a brush. i would be curious if he encouraged any of his daughter to pursue art. his youngest is in film, yet it seems offspring in general tend to skirt a parent's realm to stake out their own identity/independence in other fields.
6 daughters>>>there's a story.
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