Red Herring: a fallacy in which an irrelevant topic is presented to divert attention from the original issue. Check out my friends that will be in this group show with me. You should come out on the 27th. Beer and wine will be served and great art to talk about.
www.mayureshmoghe.com www.dnmartin.com treyjollyphotography.com www.jacksonbullock.com www.michaelhamiltonphoto.com (unfortunately Ivy Johnson doesn't have a website)
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Who are the last 3 artists that you seriously looked at whether they influence your work or not? Erin EndicottI am particularly intrigued by the concept of inherited wounds, specific patters, behaviors, reactions, that we are born with already seeded into our psyche at birth." --Erin Endicott Healing Sutra #5 Recently, I've been looking at the work of Erin Endicott. Not only is her work similar to mine in many ways, but also the way she talks about her work. I often have trouble communicating verbally what I want to say about my work- and with my qualifying review around the corner- I am trying to prepare for speaking about my work to a large audience. So I must choose my words carefully and mean what I say. I came across Endicott's work in the summer 2012 edition of Surface Design a magazine for creative exploration of fiber and fabric. In that article the author wrote, "....abstracted forms that are organic and biomorphic in character....reinforces the dialogue about women as biological creatures....". This is one of the major things that I'm thinking about when I'm making my work. I'm trying to explore biology- female biology- as an undeniable aspect of our identity, whether we like that or not. So for me its important that my work read with a biological reference in mind, and I think it does. And Endicott's work is successful in that nature as well. I've been studying her use of form and color palette particularly. Her works on fabric have a richness to them in texture and layers that I am also working to achieve in my pieces. I'm currently working on many projects at the same time and Endicott's work in general is related to the things that I'm thinking about when I'm making. I am taking a small break from a series where I am sewing paper drawings to fabric. But I heavily reference Endicott for that series. I've been trying to use white fabric as the surface that I am sewing the paper to, and have not been very successful yet. I like the contrast of the drawings and their color to a blank sterile white surface, however, the fabrics I have chosen thus far are not settling well. Endicott is able to achieve success with her white cotton little girls dresses because of the nature of the object itself. They are repurposed dresses and since they are little girls dresses they heavily reference an sense of innocence and an intimately feminine nature. Suzanne Ankerbio art is neither media specific nor locally bounded. As an international movement, several sub-genres exist within this overarching term: 1) The iconography of molecular matter and reproductive technologies. 2) The employment of computer software, systems theory and simulations which investigate evolution, artificial life and robotics. 3) Finally, artist work with wet-lab mediums, including tissue engineering, plant breeding, and ecological reclamation. Of particular importance to bio art is to summon awareness of the ways in which altering nature also transforms social, ethical and cultural values in society.--Suzanne Anker's website. The Glass Veil (Sleep) Suzanne Anker is a biological artist. She works primarily in photography but sometimes does installations, and sculptures. What does biological artist even mean? From my understanding BioArt is an art making practice where the artist works with living tissues, bacteria, life processes, and living organism- therefore, a BioArt artist is interested in those kinds of things for materials or subject matter (visually, conceptually, etc.). I came across Anker's work when I a friend of mine told me about a summer residency program in NY for BioArt. I looked into it and learned about Anker's role in School of Visual Arts (in NY) BioArt program. (I also applied to the residency for this summer and am waiting to hear back.) I'm interested in learning more about BioArt and Anker's work was a good place to start. I also really enjoy the idea of collaborating with a scientist. Michael CarsonI like the fact that the face can be such a subtle subject and one brush stroke can be the difference in the feel of the entire piece. -- Michael Carson "Reflect" This is a different one for me. I came across one of Michael Carson's painting on Pinterest of all place. Now, there is a category on Pinterest for "art" - but by no means does it entail just art or even good art. But I was drawn to his paintings regardless. He doesn't have a website (slacker) but he does have gallery representation (lucky). So I don't know a lot about him. He went to Minn. Institute for Art and Design in 1996 and worked as a graphic designer for a while. I don't know- but I just like his work. Its not particularly interesting. I just like the way it looks. (I can hear Brandon saying, "we don't like things".) I like the handling of the figures and how the paint is visible. The divisions of the canvas with a flat horizon line creates and interesting relation with the figures. Carson seems to divide his compositions in to thirds often. I enjoy that the color palette relates but is very contrasty. Do you have a motto or creed that as an artist you live by? What advice would you give a young artist that is just starting out?I love to collect quotes. I'm constantly writing down things that I hear that inspire me. And a lot of them are not art related- they're just life related. Some stick with me longer than others, but I wouldn't say that I live by any of them in particular. I just like to keep them close by (in my studio, in my sketchbook, in my iPhone notepad, etc.) for bad days. This is not your wedding. Its just a date. -- Daniel Graham ^^ My undergrad professor and mentor, Daniel Graham, told me this once about my undergrad thesis show and it has stuck with me. I like to remember it because it reminds me that I don't have to work with the same materials, or concepts all the time. I don't have to marry an idea. I can just date it for a while and when its time to move on, move on; or marry it or don't. Just give it a year. -- Dr. Juliee Decker Loneliness does not come from being alone, but from being unable to communicate the things that seem important. -- Carl Jung MORE. Thats the word that keeps echoing in my head as I think of ways to make a mess. -- Unknown They think we are in a state of crisis. But we prefer living the temptation of every day, rather than fall victim to the idleness that makes life a series of cowardly acts. -- Emilio Vedova Why do some people say, "Grow some balls"? Balls are weak and sensitive. If you wanna be tough, grow a vagina. Those things can take a pounding. -- Betty White There is no substitute for hard work. -- Shawn Barber She is clothed in strength and dignity, and she laughs without fear of the future. Know what? Bitches get stuff done. -- Tina Fey Afraid of everything, did it anyways. -- Unknown Women, you see, only become interesting if they give you the feeling that something is not quite right. --Debra Condren I could go on forever. I've been collecting quotes for years.
What advice would you give a young artists just starting out? Well I think I'm still one of those young artists. But I've learned some things that I could share. Don't show anything you aren't proud of. Your work has to sit well with you first, before anyone else. Always keep a sketchbook - put anything and everything in it. "How much do you charge for something like that?" Answer: as much as you can without laughing. (recent advice I just learned- sound advice at that) "I hadn't considered that. I'll have to look into it." - always a good response. You can't please everyone. Some stuff you have to take it or leave it. I WISH I HAD AN ASSISTANT!
I have once served as an assistant to another artist though. While an undergrad student at Georgetown College I had an opportunity in an art history class to serve as an assistant to Carolann Freid. Dr. Freid is a local artist in Georgetown, KY and unfortunately doesn't have a website. I helped install and prepare a large installation in her backyard. I don't really remember much from the experience other than artists are particular people and that I thought installation art was weird at the time (I was a sophomore I believe). It was fun to hang out in her gorgeous back yard and her about some of her ramblings. I also was a gallery director assistant while in undergrad. That was a really wonderful experience for me. I helped with everything. Finding artists to exhibit, receiving, installing and de-installing work, sending thank you cards, data entry, errand running, etc. for the galleries at GC. I really enjoyed it but I'm not sure it would be a job I would want full responsibility of- a lot of organizing and planning- which I'm not bad at, but its not fun per say. But, yes I would love to have an assistant. Taking applications for unpaid internship assistantship? The artist you are is the person you are. -- Anya Liftig. Today, I had the pleasure to meet artist Anya Liftig. She is friends with UK's director of foundations Rae Goodwin and has roots in rural Kentucky. The art graduate student organization (AGSA) wanted to bring her to campus for a lecture and studio visits. I had heard of Anya's work before but never really looked into it. The day before I was scheduled to meet with her I visited her website to get a sense of who she was as an artist. Her was interesting was my first thought and I wasn't sure if I thought interesting was a good thing or a bad thing at the time. One thing was certain, she has balls--some of the performances she does! Her lecture was great. I gained an deeper appreciation of her work and really enjoyed the way she spoke. She was a real person as opposed to a faculty member who might have an agenda (of pushing me in a direction) when I meet with them. She was encouraging during my studio visit. Anya told me to make what I like and what I'm interested in, not what I think the faculty want of me. She gave practical advice about what to do after grad school. It was very refreshing. I love studio visits like this. Anya Liftig’s work has been featured at TATE Modern, Highways Performance Space, Exit Art, [performance space] london, Performmer Stammtisch Berlin, Dimanche Rouge Paris, Roves and Roams and OVADA Oxford UK, Chashama, Month of Performance Art Berlin, Eyedrum, Grace Exhibition Space, Atlanta Contemporary Art Center, Galapagos, The Flea, Performance Art Institute–San Francisco, Chez Bushwick, Socrates Sculpture Park, Yale University, Center for Performance Research, Lock Up Performance Art London, Debrillator Gallery, INCUBATEChicago, University of Wisconsin, University of Chicago, Vaudeville Park, Mess Hall, Joyce Soho and many other venues.
I sit and look at my work a lot and usually for a good amount of time. It just makes sense to look at work because sometimes its easy to get caught up in making the work and seeing it from a particular distance that looking is prevented. I like to be around my work when I journal about it too. Seeing everything as a collective can be very informative as well. While I'm in my studio I like to see current projects surrounded by older works too. This allows me to see common visual themes and the affects of new or different materials. As I stated before, I work under "umbrellas" that are related. Sometimes its important for the work to look visually related, other times the opposite is important. Having new and old work in close proximity helps me see where I might be going next or whether I need to backtrack.
If I'm in the final stages of completing a piece or body of work, I take it out of the studio to see it. Doing this, in opposition from seeing it in the studio, allows me to see whether the work is strong enough to stand without the history of the previous works. Is the piece a success by itself? What does the series need to help make the work complete? Am I'm going in a whole new direction- is this exciting to me? Does it look good? How does it sit with me? Is it finished? In terms of cleaning my studio- thats always a task, even when its a small task. I try to clean up after myself as I go and sometimes I'm not very good at that. I usually know where everything I need is although it may not look that way to an outside point of view. I always clean up when I'm starting a new project. Or when I'm having a studio visit from someone important. Sometimes I clean up when I feel really stressed out about the direction I should go with the work (and sometimes my life in general). I like for the space to make sense to me. A work area, a drying space (for when my materials are wet), a place to store things that may or may not pop up in the work, an emailing/computer sitting space, and finally a clear wall to place a a piece thats close to completion. I like to rearrange the furniture and space every 3-4 months too. This helps me switch gears from project to project. Even if its something as simple as moving the orientation of the work table(s). I often throw things in the floor that I don't need, like paper scraps and such, but I try to clean that up soon. Sometimes I like to bring my dogs to the studio with me on the weekends and I like for the floor and couch to be clear for them. (Dogs make everything better-even bad studio days.) Do I work on one project at a time or several? Graduate school almost makes it impossible to work on one thing at a time. Although I may be working on several things at a time they all relate to one another. I work under the same body of work pretty consistently. I call my big concept my umbrella, and everything that I work on fits under the umbrella in some fashion. Its difficult when I'm in a class where technical skill requires a lot of practice and the work doesn't relate to my umbrella- once the technique is down, I have to kick into high gear to make a series of pieces that relate to the umbrella. Right now, I'm in an advanced non-silver photography class and I've had experiences with most of the processes but the ones that are new to me require a lot of work and practice to figure out. So, now that I have all the processes down, I can invest real time into making work with those processes that relate to my whole body of work. I really enjoy working in different mediums. I think I'll be a jack of all trades, master of none - one day. Titles on the other hand are a love-hate relationship. Titles play an important role in helping the viewer understand the intentions of the work. TItles can also be a way of simply keeping track of the work with a numerical system. I'm torn on the subject. Its important to my work that the title key the viewer into something crucial to the work - mostly because most of my work is abstract in nature. However, I'm finding that very little people seem interested in titles anymore; especially some of the faculty that I work with in my program- so I'm deciding whether or not that will affect the way I title work while I'm here. I also get annoyed when titles are so poetic that it makes me want to barf a little. It doesn't have to be poetic, or profound, just informative in my opinion. I used to have more poetic titles when I was in undergrad but I've taken a step back from that a lot. Now I just give what I think is enough without giving it away. I don't think I'm mature enough in my career yet to make hard and fast decisions about titles. Its something that I think will continue to change for me.
My titles usually come from journaling about the work in my sketchbook. Words that commonly come up in when I think about the work normally make an appearance in the titles. And my working titles are often what I go with in the end- or at least some variation of the working title. I was a bit late on my post this week. Last week was real busy seeing as it was the count down to spring break. Hopefully, I will be able to make more posts this week since I will be free to work in the studio all the time- uninterrupted. At the least, check back in next Thursday. NEXT WEEK: When you are contemplating your work, where and how do you sit or stand? How often do you clean your studio, and does that affect your work? DUE: MARCH 14TH Do you have any special devices or tools that are unique to your creative process? |
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Author/ArtistI am a contemporary artist focused on the intersection of art and science in Lexington, KY. Archives
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