LONG-FORMAT FIGURE STUDY
Saturday, May 4, 2013
The following posts are for the LONG POSE FIGURE STUDY project. This was an experimental drawing done with paint. Painting completed over 5 sessions with static model. Parameters for project:
1. Must be 18" x 24" or larger
2. Must use COLOR
3. Must be done in PAINT (choice of medium and ground left to individual students)
4. Must turn in COMPLETE COMPOSITION and statement on final day of class.
4. Must turn in COMPLETE COMPOSITION and statement on final day of class.
5. Must be done from life. Model static for 13.75 hours.
The following 17 posts are the projects presented with critiques from the class.
I am missing names for three of you, please comment with your name so I can give you a grade!!
CRITIQUES DUE: 5/9 (12 AM)
I am missing names for three of you, please comment with your name so I can give you a grade!!
CRITIQUES DUE: 5/9 (12 AM)
Thursday, May 2, 2013
"I use the camera to describe sensations using only vintage cameras in small format.
The small scale of my works creates a personal intimacy with the subject. The images
of my Nightworks project are a tribute to the shadows and light of a city after dark.
The vertical bar dividing each 11x14 composition is achieved by using a half-frame camera and the separation foregrounds the temporal and spatial movements that I experience when making work – the time spent between shots. Some of the pairings document only a split second difference or a minor shift in the camera angle, while others represent larger periods of time and/or longer distances of travel between exposures. Each diptych catalogues not only the subjects I choose to photograph but also my travel through urban space as subject.
This lends a filmic quality to the work, especially when exhibited as a horizontal axis as each image on the page is part of its own series. The work is sold in various formats, each image is sold separately or as part of a series.
It never truly gets dark in a large city and from a plane, the light emanating from the ground is invariably made up of the orange arterial threads of roadway; testament to the fact that even while we’re sleeping we’re still in motion. Meanwhile, down on the ground a quick glimpse, at the end of the day, into the approaching night - to the bridges, the tunnels, buildings, windows and doors lit in ethereal techicolour. The images are stolen moments and missed opportunities, declined invitations, snapshots of a world going by. "
Although this is a statement for photography, it is my favorite artist statement that I have read.
I love how she includes her process and her explanation of the use f a diptych I enjoy the concept of how she portrays both her subjects along with her travels in one work of art.
The last paragraph is my favorite part of the statement because it really brings all of her work together. Her concept, ideas, and style are all captured in the few sentences at the end. The eeriness and mystery presented in her work is all highlighted in this paragraph.
The vertical bar dividing each 11x14 composition is achieved by using a half-frame camera and the separation foregrounds the temporal and spatial movements that I experience when making work – the time spent between shots. Some of the pairings document only a split second difference or a minor shift in the camera angle, while others represent larger periods of time and/or longer distances of travel between exposures. Each diptych catalogues not only the subjects I choose to photograph but also my travel through urban space as subject.
This lends a filmic quality to the work, especially when exhibited as a horizontal axis as each image on the page is part of its own series. The work is sold in various formats, each image is sold separately or as part of a series.
It never truly gets dark in a large city and from a plane, the light emanating from the ground is invariably made up of the orange arterial threads of roadway; testament to the fact that even while we’re sleeping we’re still in motion. Meanwhile, down on the ground a quick glimpse, at the end of the day, into the approaching night - to the bridges, the tunnels, buildings, windows and doors lit in ethereal techicolour. The images are stolen moments and missed opportunities, declined invitations, snapshots of a world going by. "
Although this is a statement for photography, it is my favorite artist statement that I have read.
I love how she includes her process and her explanation of the use f a diptych I enjoy the concept of how she portrays both her subjects along with her travels in one work of art.
The last paragraph is my favorite part of the statement because it really brings all of her work together. Her concept, ideas, and style are all captured in the few sentences at the end. The eeriness and mystery presented in her work is all highlighted in this paragraph.
Wednesday, May 1, 2013
Best Artist Statement - Yvonne Ganderty HW
Guy Laramee Artist Statement
The erosion of cultures – and of “culture” as a whole - is the theme that runs through the last 25 years of my artistic practice. Cultures emerge, become obsolete, and are replaced by new ones. With the vanishing of cultures, some people are displaced and destroyed. We are currently told that the paper book is bound to die. The library, as a place, is finished. One might ask so what? Do we really believe that “new technologies” will change anything concerning our existential dilemma, our human condition? And even if we could change the content of all the books on earth, would this change anything in relation to the domination of analytical knowledge over intuitive knowledge? What is it in ourselves that insists on grabbing, on casting the flow of experience into concepts?
When I was younger, I was very upset with the ideologies of progress. I wanted to destroy them by showing that we are still primitives. I had the profound intuition that as a species, we had not evolved that much. Now I see that our belief in progress stems from our fascination with the content of consciousness. Despite appearances, our current obsession for changing the forms in which we access culture is but a manifestation of this fascination.
My work, in 3D as well as in painting, originates from the very idea that ultimate knowledge could very well be an erosion instead of an accumulation. The title of one of my pieces is “ All Ideas Look Alike”. Contemporary art seems to have forgotten that there is an exterior to the intellect. I want to examine thinking, not only “what” we think, but “that” we think.
So I carve landscapes out of books and I paint romantic landscapes. Mountains of disused knowledge return to what they really are: mountains. They erode a bit more and they become hills. Then they flatten and become fields where apparently nothing is happening. Piles of obsolete encyclopedias return to that which does not need to say anything, that which simply IS. Fogs and clouds erase everything we know, everything we think we are.
After 30 years of practice, the only thing I still wish my art to do is this: to project us into this thick “cloud of unknowing.”
RESPONSE:
- I really liked this artist statement because it was so personal. I could really understand the artist's mindset and world view, and I find this fascinating and alluring when finding art styles I like. I like art with cultural connotations and important messages.
- I also appreciated that you could see his own progression of thought and changing of views as he progressed as an artist. He shares many of the same ideas as me.
- It was a little bit long, I would take some of the content out so it would be more concise.
The erosion of cultures – and of “culture” as a whole - is the theme that runs through the last 25 years of my artistic practice. Cultures emerge, become obsolete, and are replaced by new ones. With the vanishing of cultures, some people are displaced and destroyed. We are currently told that the paper book is bound to die. The library, as a place, is finished. One might ask so what? Do we really believe that “new technologies” will change anything concerning our existential dilemma, our human condition? And even if we could change the content of all the books on earth, would this change anything in relation to the domination of analytical knowledge over intuitive knowledge? What is it in ourselves that insists on grabbing, on casting the flow of experience into concepts?
When I was younger, I was very upset with the ideologies of progress. I wanted to destroy them by showing that we are still primitives. I had the profound intuition that as a species, we had not evolved that much. Now I see that our belief in progress stems from our fascination with the content of consciousness. Despite appearances, our current obsession for changing the forms in which we access culture is but a manifestation of this fascination.
My work, in 3D as well as in painting, originates from the very idea that ultimate knowledge could very well be an erosion instead of an accumulation. The title of one of my pieces is “ All Ideas Look Alike”. Contemporary art seems to have forgotten that there is an exterior to the intellect. I want to examine thinking, not only “what” we think, but “that” we think.
So I carve landscapes out of books and I paint romantic landscapes. Mountains of disused knowledge return to what they really are: mountains. They erode a bit more and they become hills. Then they flatten and become fields where apparently nothing is happening. Piles of obsolete encyclopedias return to that which does not need to say anything, that which simply IS. Fogs and clouds erase everything we know, everything we think we are.
After 30 years of practice, the only thing I still wish my art to do is this: to project us into this thick “cloud of unknowing.”
RESPONSE:
- I really liked this artist statement because it was so personal. I could really understand the artist's mindset and world view, and I find this fascinating and alluring when finding art styles I like. I like art with cultural connotations and important messages.
- I also appreciated that you could see his own progression of thought and changing of views as he progressed as an artist. He shares many of the same ideas as me.
- It was a little bit long, I would take some of the content out so it would be more concise.
Artist Statement HW 4/30/13
Artist statement by Alex Hall (alexhallart.com) :
"My new series “Relativity” depicts individuals floating in time and
space. I chose to paint the figures with no distinct faces so they would
relate to every man and every woman. This particular series is a very
honest representation of where I am currently in my own life. Having
recently graduated college and being thrown off my feet into the real
world, I was extremely overwhelmed. I still was not sure what path to
take or which way to go in life. I began to realize that most people are
familiar with this feeling of uncertainty. With that idea, I sought out
to create a series that was a visual representation of an emotion that
has been universally felt by all people: A sense of uncertainty, and
ultimately struggling to achieve a balance in life."
This artist statement pertains to a body of work and explains the theme of the work. I find this effective because Hall explains what is going on in the series of work along with why he paints this body of work. The audience is the viewer of his work. He stated that he chose to paint the figures with no distinct faces to have a universal meaning, where anyone could relate to the paintings. Since he describes what is going on in the images, it is not necessary to have to see the image before reading the statement, although it is helpful.
Monday, April 29, 2013
Robert and shana Parkeharrison
ARTIST STATEMENT
We create works in response to the ever-bleakening relationship linking humans, technology, and nature. These works feature an ambiguous narrative that offers insight into the dilemma posed by science and technology's failed promise to fix our problems, provide explanations, and furnish certainty pertaining to the human condition. Strange scenes of hybridizing forces, swarming elements, and bleeding overabundance portray Nature unleashed by technology and the human hand.
Rich colors and surrealistic imagery merge to reveal the poetic roots of the works on display. The use of color is intentional but abstract; proportion and space are compositional rather than natural; movement is blurred; objects and people juxtaposed as if by chance in a visual improvisation that unfolds choreographically. At once formally arresting and immeasurably loaded with sensations—this work attempts to provide powerful impact both visually and viscerally.
Artist Statement Post: Julia
Artist Statement HW Riusuke Fukahori
Riusuke Fukahori - Paints Three-Dimensional Goldfish Embedded in Layers of Resin
ARTIST STATEMENT
I think of goldfish as a living sculpture with man-made modifications. It never reaches the completed form; the goldfish’s vulnerability and imperfections bring out our motherly instinct. I've been bewitched with the strong energy of life of goldfish that has inherited mutations for more than 1500 years, continuously changing forms by man's hands. I've been depicting an uncountable numbers of goldfish in my work, but the mysterious pull towards goldfish will never die for me. The impulse of exploration, "What are goldfish" drives me to create more. Where and how they want to swim, and what they think; these are the questions that I've been asking myself when I paint goldfish. I believe this process will help breathe life into the goldfish in my works.
Fukahori's artist statement explains his captivation for goldfish and why he incorporates goldfishes into his work. His creations are extraordinary life like and speak for themselves. There are videos on you-tube that show how the gold fishes were made, so learning about the process can be found elsewhere and is not needed in the statement. His statement clarifies his fascination for the creatures.
Artist Statement Homework
Vivian Estalella
“For me art is a feeling, an expression that can easily
transport you. Through the use of color and lines you can be taken to a place of
peace in a moment. As an artist I choose to guide you on a journey of love to a
place and time that will awaken your spirit and breathe life into the mundane.
Along the way you will see deep into my soul and experience the passionate rhythm
of my culture.”
This is a general artist statement about the artist herself rather than any specific piece or body of work. I think it is effective in conveying the emotion and feeling the artist directs towards her audience, thus helping the viewer understand the message of her pieces. I think it may be a bit too broad as it not only encompasses her motivations but hints at her art being a representation of her culture as well. This statement would be intended towards anyone wanting to know what the artist was about and viewing her artwork would not be necessary. Her statement centers on her motivations not her specific style of art.
This is a general artist statement about the artist herself rather than any specific piece or body of work. I think it is effective in conveying the emotion and feeling the artist directs towards her audience, thus helping the viewer understand the message of her pieces. I think it may be a bit too broad as it not only encompasses her motivations but hints at her art being a representation of her culture as well. This statement would be intended towards anyone wanting to know what the artist was about and viewing her artwork would not be necessary. Her statement centers on her motivations not her specific style of art.
Artist Statement HW 4/29
Isabelle Lydick
Artist Statement by Tal R:
"Every artwork should have a certain “hand” that reaches out for the audience, but the physical experience is completely beyond what you can explain on the phone. You can almost explain Donald Judd or Bruce Nauman over the phone. But when you see the pieces, they work on you in a different way. I want there to be normal things in my paintings that everybody can pick up, but when you stand in front of them you get insecure about what you’re watching. It’s like getting the viewer to the dance floor with a very cheesy pop song. If you ask people, they won’t admit that they like the song, but when they hear it, they move. Or like when you put french fries on the table. People will say, “No, I don’t like french fries.” But then everybody’s picking at the french fries. That’s how the painting should work."
This statement came in the form of an interview, and I really connect to what the artist is saying here. In my own paintings, I want to have simple, or normal elements, but I also want elements that make you stop, make you think. I like those elements in art as a whole, not just in painting; elements that are unexplainable. It can be good if things are a bit off. So this statement is for a broad audience, and I find it effective because it is so direct. The artist says what he believes.
Artist Statement by Tal R:
"Every artwork should have a certain “hand” that reaches out for the audience, but the physical experience is completely beyond what you can explain on the phone. You can almost explain Donald Judd or Bruce Nauman over the phone. But when you see the pieces, they work on you in a different way. I want there to be normal things in my paintings that everybody can pick up, but when you stand in front of them you get insecure about what you’re watching. It’s like getting the viewer to the dance floor with a very cheesy pop song. If you ask people, they won’t admit that they like the song, but when they hear it, they move. Or like when you put french fries on the table. People will say, “No, I don’t like french fries.” But then everybody’s picking at the french fries. That’s how the painting should work."
This statement came in the form of an interview, and I really connect to what the artist is saying here. In my own paintings, I want to have simple, or normal elements, but I also want elements that make you stop, make you think. I like those elements in art as a whole, not just in painting; elements that are unexplainable. It can be good if things are a bit off. So this statement is for a broad audience, and I find it effective because it is so direct. The artist says what he believes.
Artist statement Ashley Blanchette
Sefla Joseph
My figures are searches, looking for ways to be at ease in their own skin. Painting from an intuitive place will often take me into the unexpected, where shapes, colors, marks, and lines take on a life of their own, revealing mysteries to ponder and reflect on. If my works reach out, touching a viewer, inviting them in to share this journey, I fell my paintings have taken root and the connection between myself and the viewer becomes a tender place.
This is a figurative painter and I really enjoyed reading her artist statement because it dealt with painting and what I think a large amount of artist try to convey in their artwork. She wants to somehow through her paintings, touch the viewers and give them a different perspective on what they see on a canvas. I think I aspire to do the same and that is why I chose her. The audience this is intended for, I think, a large scope of people. Anyone who appreciates figurative paintings. I think viewing the work is necessary to understanding the artist because even without knowing, an artist has their own special style that the bring to a piece.
Sefla Joseph
My figures are searches, looking for ways to be at ease in their own skin. Painting from an intuitive place will often take me into the unexpected, where shapes, colors, marks, and lines take on a life of their own, revealing mysteries to ponder and reflect on. If my works reach out, touching a viewer, inviting them in to share this journey, I fell my paintings have taken root and the connection between myself and the viewer becomes a tender place.
This is a figurative painter and I really enjoyed reading her artist statement because it dealt with painting and what I think a large amount of artist try to convey in their artwork. She wants to somehow through her paintings, touch the viewers and give them a different perspective on what they see on a canvas. I think I aspire to do the same and that is why I chose her. The audience this is intended for, I think, a large scope of people. Anyone who appreciates figurative paintings. I think viewing the work is necessary to understanding the artist because even without knowing, an artist has their own special style that the bring to a piece.
Artist Statement Research HW: Casandra
I found myself connecting more with the statement made by Carolyn Halliday:
I found myself connecting more with the statement made by Carolyn Halliday:
"I use the vocabulary of textiles to create sculptural forms that often reference body or nature.
The quiet repetition of a stitch is central to my existence.I think that her artist statement is not only about the medium she works in, but also about her as an artist. Her statement is effective not simply because it is short and to the point, but because it explains her works in their entirety. There are two statements that she makes that I feel completely describe her process: her conversion of found materials in to a "textile," and her desire to "magnify nature." Ultimately, I feel that he artist statement cannot work alone unless the viewer has already seen her work. This is because her statement amplifies her goal of her work. It goes beyond her role as an artist, and forces her viewers to ask themselves what is a textile and how does it function.
Hand knitting wire and other nontraditional materials, usually re-cycled, is my primary technique although I incorporate other needlework and fiber skills into my work.
I am always intrigued by the process of converting a discovered material into a form that I call a textile.
Simple elements of my daily existence: a found stick, a scrap of metal, or coffee beans may become the seeds of a piece. I intend to magnify nature, reference concepts of the feminine through body and domesticity, and examine life’s daily debris."
Friday, April 26, 2013
example of artist statements. jennifer moya
Jonathan H. Dough - Artist Statement
My artwork takes a critical view of social, political and cultural issues. In my work, I deconstruct the American dream, fairy tales, nursery rhymes, and lullabies that are part of our childhood and adult culture. Having engaged subjects as diverse as the civil rights movement, southern rock music and modernist architecture, my work reproduces familiar visual signs, arranging them into new conceptually layered pieces.
My artwork takes a critical view of social, political and cultural issues. In my work, I deconstruct the American dream, fairy tales, nursery rhymes, and lullabies that are part of our childhood and adult culture. Having engaged subjects as diverse as the civil rights movement, southern rock music and modernist architecture, my work reproduces familiar visual signs, arranging them into new conceptually layered pieces.
Often times these themes are combined into installations that feature mundane domestic objects painted blue, juxtaposed with whimsical objects, and often embellished with stenciled text. The color blue establishes a dream-like surreal quality, suggests notions of calmness and safety, and formally unifies the disparate objects in each installation. The texts provide clues to content and interpretation.
While I use a variety of materials and processes in each project my methodology is consistent. Although there may not always be material similarities between the different projects they are linked by recurring formal concerns and through the subject matter. The subject matter of each body of work determines the materials and the forms of the work.
Each project often consists of multiple works, often in a range of different media, grouped around specific themes and meanings. During research and production new areas of interest arise and lead to the next body of work.
Millie Wilson - Artist Statement
I think of my installations as unfinished inventories of fragments: objects, drawings, paintings, photographs, and other inventions. They are improvisational sites in which the constructed and the ready-made are used to question our
making of the world through language and knowledge. My arrangements are schematic, inviting the viewer to move into a space of speculation. I rely on our desires for beauty, poetics and seduction.
I think of my installations as unfinished inventories of fragments: objects, drawings, paintings, photographs, and other inventions. They are improvisational sites in which the constructed and the ready-made are used to question our
making of the world through language and knowledge. My arrangements are schematic, inviting the viewer to move into a space of speculation. I rely on our desires for beauty, poetics and seduction.
The work thus far has used the frame of the museum to propose a secret history of modernity, and in the process, point to stereotypes of difference, which are hidden in plain sight. I have found the histories of surrealism and minimalism to be useful in the rearranging of received ideas. The objects I make are placed in the canon of modernist art, in hopes of making visible what is overlooked in the historicizing of the artist. This project has always been grounded in pleasure and aesthetics.
Molly Gordon - Artist Statement
Knitting is my key to the secret garden, my way down the rabbit hole, my looking glass.
Knitting is my key to the secret garden, my way down the rabbit hole, my looking glass.
Hand knitting started it. From the beginning the process of transforming string into cloth has struck me as magical. And, over the years, that magical process has had its way with me, leading me from hobby to art. Knitting fills me with a sense of accomplishment and integrity, and has proven a most amenable vehicle for translating inner vision to outer reality.
I knit from the inside out. Though I work quite deliberately, consciously employing both traditional and innovative techniques, my unconscious is the undisputed project manager.
The concrete, repetitive nature of this work frees my imagination and provides many opportunities for happy accident and grace to influence the finished product.
Recently I discovered some childhood drawings: simple, crayoned patchworks that resonate deeply with my fiber work. Inspired and invigorated by a renewed sense of continuity, and awed by the mystery of how creation occurs, I am now knitting richly varied fabrics exploring many patterns, textures and colors. Once knit, the fabrics are pieced to form an always new patchwork from which I make my garments and accessories.
Martin Langford - Artist Statement
I don't set out to produce art about one subject or another. I'm never without a sketchbook to hand so I am constantly drawing and sometimes the drawings are left in the sketchbook and other times they develop into more in-depth ideas and detailed images.
I don't set out to produce art about one subject or another. I'm never without a sketchbook to hand so I am constantly drawing and sometimes the drawings are left in the sketchbook and other times they develop into more in-depth ideas and detailed images.
I didn't set out to be an environmental artist or to create artwork relating to social commentary but as my portfolio developed and people started to review my work, the descriptions started to emerge and I began to notice a pattern I hadn't intended but am now please with.
My work tends to focus on the environment, the evolution of man and his material wealth, the development of bigger and bigger cities, more and more people, cars and industry on the planet and the consequences this has on nature. Some reviews have labeled my work as 'black humour' but I always try to depict a positive message too - the persistence of nature in recapturing what once belonged to the earth.
At school, the only class I really paid any attention in was art. I simply wasn't interested in anything else and I think my obsession with depicting the monotony of the work place and work force started there...
Some of my subject matter is about people's daily routines and a comment on human nature. And since I've always been a fan of mafia films - a new strand of work seems to have emerged depicting a very 'human' and 'school playground' side to mob life.
None of it was intentional - it all developed and evolved over time. People always ask for my artist statement so I needed to do one but I've never liked to explain a certain piece of work - if you've made a picture and that's how you wanted it to be - hopefully it can speak for itself and whatever it says to the viewer - it's the right message because there isn't a wrong and a right message. Each person takes something a little different from the same picture and I'm happy with that.
Influences
My influences are first and foremost everything I see, feel and experience, but I've always loved comic books particularly work by Harvey Pekar and Robert Crumb. I love architecture particularly Art Deco. The artists I most admire are John Martin, a mezzotint artist from the 1800's, Winsor McCay a cartoonist and animator who created Little Nemo, Escher and Lyonel Feininger creator of Kinder Kids. I grew up watching films such as Metropolis, Flash Gordon, Star Wars and Brazil.
Martin Langford
My influences are first and foremost everything I see, feel and experience, but I've always loved comic books particularly work by Harvey Pekar and Robert Crumb. I love architecture particularly Art Deco. The artists I most admire are John Martin, a mezzotint artist from the 1800's, Winsor McCay a cartoonist and animator who created Little Nemo, Escher and Lyonel Feininger creator of Kinder Kids. I grew up watching films such as Metropolis, Flash Gordon, Star Wars and Brazil.
Martin Langford
Thursday, April 25, 2013
artist statement(Mia Casesa)
Yoshitaka Amano
"I had so much fun drawing as a child -- I would draw pictures and that would bring me such a feeling of elation and jubilation. That's what I look back on, being able to -- for work -- enjoy what I do. The fact that it becomes a constant spring of this happiness that you really only get to feel as a child stands out more than any certain project that I have worked on-----It's not so much drawing fantasy as drawing things that aren't reality. There is no switch that takes me out of reality and fantasy, so there is nothing I can pin myself to, but I constantly have these fantastical images in my head, this non-reality that is swimming around in my head, and I can pour it out whenever it's necessary."
I like this artist's explanation of his work as a kind of pure joy and exuberance. I think his statements reflect how I feel about art as well.
NEXT WEEK IS OUR VERY LAST WEEK!!! You have a few things to consider/ turn in:
1) MAKE SURE ALL OF YOUR BLOG POSTS ARE UP TO DATE BY TUESDAY.
2) ON TUESDAY: Bring in ABSOLUTELY EVERYTHING (including projects and sketchpads!) you have done this semester! We will hang our show on Thursday after critique, so we need all of this work ready.
3) Your LONG FORMAT FIGURE STUDIES (we have been working on in class) are due NEXT THURSDAY! Your LAST DAY to work with the model is next Tuesday. Think about over all composition, artistic integrity, brush work, palette choice, what you are trying to say.
REMEMBER: If you need to work on these outside of class do, but it is best not to work on living elements without the figure present. You WILL have an artist statement due with this (SEE BELOW).
4) There are several types of artist statements, that serve very different purposes: statements about a specific work, statements about a body of work, statements about a period of working, statements about work with a specific medium, statements that speak about you overall as an artist (written both with EXAMPLES of your work present and without), etc. The FINAL ARTIST STATEMENTS you are turning in (with your paintings) I want you to write an a general statement about yourself as an artist and what you are about (WHY do you make ART? what are you hoping to accomplish? What motivates you?)
Final homework assignment (4/25):
I want you to read at LEAST three different types artist statements from different artists, pick your favorite and post it telling me WHAT KIND or statement you think it is. Then post 2 comments on WHY you find this artist's statement is effective/ineffective, along with one comment on audience (who is intended?), is viewing the work necessary to understand what this artist is about? if not WHY? if so WHY?
1) MAKE SURE ALL OF YOUR BLOG POSTS ARE UP TO DATE BY TUESDAY.
2) ON TUESDAY: Bring in ABSOLUTELY EVERYTHING (including projects and sketchpads!) you have done this semester! We will hang our show on Thursday after critique, so we need all of this work ready.
3) Your LONG FORMAT FIGURE STUDIES (we have been working on in class) are due NEXT THURSDAY! Your LAST DAY to work with the model is next Tuesday. Think about over all composition, artistic integrity, brush work, palette choice, what you are trying to say.
REMEMBER: If you need to work on these outside of class do, but it is best not to work on living elements without the figure present. You WILL have an artist statement due with this (SEE BELOW).
4) There are several types of artist statements, that serve very different purposes: statements about a specific work, statements about a body of work, statements about a period of working, statements about work with a specific medium, statements that speak about you overall as an artist (written both with EXAMPLES of your work present and without), etc. The FINAL ARTIST STATEMENTS you are turning in (with your paintings) I want you to write an a general statement about yourself as an artist and what you are about (WHY do you make ART? what are you hoping to accomplish? What motivates you?)
Final homework assignment (4/25):
I want you to read at LEAST three different types artist statements from different artists, pick your favorite and post it telling me WHAT KIND or statement you think it is. Then post 2 comments on WHY you find this artist's statement is effective/ineffective, along with one comment on audience (who is intended?), is viewing the work necessary to understand what this artist is about? if not WHY? if so WHY?
Friday, April 19, 2013
Homework: 4/18
REMEMBER your blog posts for the SELF PORTRAITS are due by SUNDAY at Midnight!! There has been some truly thoughtful and helpful critical feedback posted thus far. Make sure you think about what is being presented and how it affects the work being discussed.
As we did not have an actual presentation/ critique of the last projects, all of our feedback from the SELF PORTRAITS has been academic and formal, though we have touched on concept in this class as well, which you addressed in your personal statements. I need EVERYONE to email me a copy of BOTH artist statements for my records. I would like to attach these statements to your work (if this is okay with you all). Most likely we will post our final statements, but I need them either way. If you ABSOLUTELY DO NOT want your statements connected to your work I must receive a legitimate reason why in the same email.
MAKE SURE ALL OF YOUR BLOG POSTS FOR THE SEMESTER ARE UPDATED!
Have a wonderful weekend!
See you all on Tuesday. :)
REMEMBER your blog posts for the SELF PORTRAITS are due by SUNDAY at Midnight!! There has been some truly thoughtful and helpful critical feedback posted thus far. Make sure you think about what is being presented and how it affects the work being discussed.
As we did not have an actual presentation/ critique of the last projects, all of our feedback from the SELF PORTRAITS has been academic and formal, though we have touched on concept in this class as well, which you addressed in your personal statements. I need EVERYONE to email me a copy of BOTH artist statements for my records. I would like to attach these statements to your work (if this is okay with you all). Most likely we will post our final statements, but I need them either way. If you ABSOLUTELY DO NOT want your statements connected to your work I must receive a legitimate reason why in the same email.
MAKE SURE ALL OF YOUR BLOG POSTS FOR THE SEMESTER ARE UPDATED!
Have a wonderful weekend!
See you all on Tuesday. :)
Thursday, April 18, 2013
HW 4/18 - 5 Paintings
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| Watercolor - Nancy Brandt Brown |
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| Gouache - Paolo Rivera |
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| Acrylic |
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| Tempura - Ian Smith |
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| Oil - Richard Blumenstein |
Figure Studies 5 mediums (Jennifer Moya)
Examples With 5 Different Mediums, HW 4/18/13 (Ashley Peralta)
Acrylic (by Ana Clark)
Gouache (by Sergio Lopez)
Oil (by Asher Mains)
Tempera (by Thomas Hart Benton)
Watercolor (by Leslie White)
Wednesday, April 17, 2013
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