Saturday, February 27, 2010
Monday, February 8, 2010
Crit Group 2B 2.5.10
I had about 4 paintings to show on my current topic in contrast to some other work that’s been treated differently.
Most recently I have been working on oil paintings depicting people sitting together on couches. The first four I am working with are based on a series of photographs taken of the same 3 people on a single couch. I am trying to discuss their relationship to one another through their positioning.
We discussed the difference between working with photographs and a live model. When painting with a photograph, I am able to leave areas unfinished and return back at a later time, if ever. There is a sense of freedom and experimentation. This is visible even in the brushstroke. I was feeling more trapped and pressured when the person was present with me, which gave the paintings a much more finished quality that to me felt over worked and forced.
I leave the paintings with an unfinished quality, yet I have a problem of knowing when I want to stop. There is an overwhelming presence of white in the painting, the white of the gesso I use. I am worried that this is a negative quality, yet the group seemed to think it was helping the motion and illumination. I was given advice to use a ground in my gesso in order to get different colors and textures.
The muted pallets seemed to be more popular.
They recommended a book, I need to get the name- woops.
Overall, the critique made me feel a little more confident about my subject matter because it made me realize I am able to talk about it. Hearing myself describe the work makes me realize I am not as confused as I thought.
Saturday, February 6, 2010
Tuesday, November 17, 2009
MFA First Year
I love the added walls in this show, not only do these alterations help make the gallery feel less crowded, they also give more individuality to a space we are all so familiar with. They add character and make the show stronger.
I like the size of the visiting artist’s work. His large scale gives a richness to the space, especially in contrast to all the smaller objects in the next room. When putting a show together, it is important to get a good mix of work that will compliment each other, and I think his work is crucial in this show.
Some pieces feel as though they are competing for attention and space. People assigned walls in the same room need to communicate in order to avoid problems like this. It may have helped to experiment with showing less work and leaving more space in between each artist.
Some pieces I really loved:
Catherine Haggarty’s Untitled (Milk Cartons)
Erin Dunn’s Installation
I like the size of the visiting artist’s work. His large scale gives a richness to the space, especially in contrast to all the smaller objects in the next room. When putting a show together, it is important to get a good mix of work that will compliment each other, and I think his work is crucial in this show.
Some pieces feel as though they are competing for attention and space. People assigned walls in the same room need to communicate in order to avoid problems like this. It may have helped to experiment with showing less work and leaving more space in between each artist.
Some pieces I really loved:
Catherine Haggarty’s Untitled (Milk Cartons)
Erin Dunn’s Installation
Thursday, October 29, 2009
THE FAIR
This chapter is a real turn off.
Baldessari’s dream- disturbingly similar to one I had recently !!!!! wooowweee weird
“Poe believes that an art fair can be a tough environment for an artist. ‘If they are any good, they make art because they have to,’ he says. ‘They don’t do it to please the market. So for some artists, hanging out here can mess with their heads.” - This place sounds like a nightmare.
“As he approaches eighty, he wants more than ever to keep his mind alive, and emergent art fulfills that desire.” - From my experience with older people, I would never expect an eighty year old to think this way, so it is interesting to hear this.
“The art is so demanding that the architecture needs to be nearly invisible. The ceilings are high enough..artificial lighting is clean and white.” - How can you properly fit art into these spaces.
“A collection is a personal vision. No one can steal your vision.” - No need to worry that yours wont be original.
“When you buy from the first or second show, you’re inside the confidence-building, the identity-building of an artist. It’s not just about buying a piece. It’s about buying into someone’s life and where they are goign with it. It’s a mutual commitment, which is pretty intense.”
Baldessari’s dream- disturbingly similar to one I had recently !!!!! wooowweee weird
“Poe believes that an art fair can be a tough environment for an artist. ‘If they are any good, they make art because they have to,’ he says. ‘They don’t do it to please the market. So for some artists, hanging out here can mess with their heads.” - This place sounds like a nightmare.
“As he approaches eighty, he wants more than ever to keep his mind alive, and emergent art fulfills that desire.” - From my experience with older people, I would never expect an eighty year old to think this way, so it is interesting to hear this.
“The art is so demanding that the architecture needs to be nearly invisible. The ceilings are high enough..artificial lighting is clean and white.” - How can you properly fit art into these spaces.
“A collection is a personal vision. No one can steal your vision.” - No need to worry that yours wont be original.
“When you buy from the first or second show, you’re inside the confidence-building, the identity-building of an artist. It’s not just about buying a piece. It’s about buying into someone’s life and where they are goign with it. It’s a mutual commitment, which is pretty intense.”
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