Jennifer Danos studio Visit

What are my rules?

-Spontaneity

- Repetition

- Tactile experience

Does the dry wall have to be on the wall or even in a flat shape?

(Maybe the dry wall can reference organic spontaneity)

Dual identity (body-mind) between:

heavy vs. light (textures)

knots vs. monofilament weaves

tension vs. release

Artist:

Vik Muniz: He is known for utilizing materials such as, wire, sugar, dirt, and chocolate in order to create his own representations of canonical artworks, which he then translates to photography. His work is influenced by painting, sculpture, drawing and design, specifically their intersection with photography.

Mona Hatoum: intensity on the body

Ann Hamilton: sensory works layered with meaning, unlike a traditional photograph, her intent here is not to capture a moment in time but a series of moments over time.

(I still don’t grasp a complete understanding on what I want my work to do. I know I don’t want it to be purely craftsmanship/ aesthetics; it needs to create a reaction. Even if that reaction is a thought that questions how the image/ object is made)

(Just let your images float in between the realms of dimensionality.)

(The print and dimensional paper describes parts of a whole. There is a slight over lap of themes but neither completely describes each all together)

This has to be one of the best websites I found that has, what I would think as, the most beautiful collections of artist work. I never thought I would break this boundary for not enjoying text as art.

http://wordandimage.wordpress.com/category/sculpture/

Terms

I'm stuck on the term femoral. Often people use it to describe art, but I'm not 100% sure what it means? Does it have to do with the body? like the femoral artery? Help me out here.

Correction: Ephemeral: refers to temporality, something being short-lived

Ephemera- Printed material, intended to have only fleeting interest. "Ephemera" comes from the Greek word "ephemeros" meaning "lasting a day." Examples are: tickets, leaflets, promotional literature or pamphlets, handbills, package labels, campaign buttons or badges, scrapbooks, maps, sheet music, bird's-eye views, playbills, posters, postcards (see deltiologist), especially the "business-reply" postcards that come inserted in magazines, and other junk mail.

Since these things are produced cheaply, with short-lived acidic materials, museologists and art conservators find it difficult to preserve visual art produced without high technical standards, as they do in preserving sketches made on such papers as newsprint. Museums and collectors face a dilemma: whether to allow works to decay and die, to linger in the form of documentation, or to try to embalm or replicate them. Institutions must balance the demands of managers, conservators, curators, and artists to ensure visitors the most authentic experience possible of aging works' physical and aesthetic properties.

Much ephemera is collected as memorabilia.

Another term(s) to think about:

Haptic- Of or relating to the sense of touch; tactile. The branch of psychology that investigates cutaneous sense data.

Intrapersonal- Existing of occurring within the individual's self of mind, (myself)

Interpersonal- Existing or occurring between persons, (myself and my viewer)

Cognitive- Having to do with the mental process of faculty of knowing, including such things as analysis, application, awareness, comprehension, perception, reasoning, synthesis, evaluation, and meta-cognition.

Art therapy-

Multiple intelligence theory-

Science and Art-

Scribble

Schizomentary by donebestdone (Scribble Drawing excerpt) from Jennifer Kotting on Vimeo.

2nd_crit_Fall09

For the sake of saving time see images and comments on this crit. at the following link

http://www.facebook.com/album.php?aid=321248&id=759275079

Drawings

Material Studies

I'm really wondering if my interest in art is based on material studies instead of conceptual or theory. I think it I was getting Culinary degree I would be emphasizing in culinary science.

Why Paper?

Paper has become a fascination to me initially because it was a process that was unknown to me. I spent so much time looking for paper I wanted that it became frustrating. . When making the paper I am focused and my thoughts flow as smoothly as the water in my vat. I am attracted to my experiences with each sheet, and the random happy flaws in each one. It is the history and the traditional elements, the possibilities, and chemistry behind the paper that ignites my creative sparks. Paper is often overlooked but sometimes it tells more then you think. Paper has a strong element of story telling. A piece of paper can tell an age (by the color and distress), a region (by the type of fiber), a demand (by the number produced), and a narrative (by the use). Papermaking is very tactile and sensuous. The process sends me into an automatic surrealism experience and the finish product invites a human interaction. No longer am I frustrated instead I am curious.

Studio Visit P. Briggs

What do you want your viewer to get out of this?
Why?

Artist
Judy Pfaff
Eva Hesse
Louis Bourgenois

Books
Bachelors
Part object part Sculpture


Vocabulary
Automatic Surrealism
Ontological
Installation vs. Sculpture

+ Chains remind me of a childhood obsessions
+ Body/ gender
+ Braiding/ hair/ umbilical/ body/ decorative = feminine
+ Architecture/ minimalist = Masculine

Artist Recommended by Natasha

Jan Estep: http://www.janestep.com/?page_id=6

Marco Maggi: grids

Louise Bourgeois: display

Isamu Noguchi: sculpture

Constantin Brancusi: sculpture

Questions:

Does the decorative element in my work covey my message or does it damper it?

Does the use of language and form need to exist in one piece?

Why and how do language and form work together?

What elements work in the piece called Notebook 1?
Obsessive
Repetition- to a point
Narrative/ language inter change

Am I a formal artist?

What is miscommunication?

Communication is a comparison and correlation between two people that have a mutual understanding of context and meaning.

Notebook 1 "Tangled Notes"

This piece is complete. I just entered this piece in a juried show through the Manifest Gallery. The show it could be selected for is called "Monochrome". There was a $10 entry fee.

JAN SVANKMAJER

Mira Schendel

Artist Statement-Fall09-1

Spoken and written conversations have the unique ability that allows for miscommunication. Spelling, pronunciation, and context are some elements that can twist, knot, or confuse intention.

In my current work I am intentionally creating a miscommunication by physically altering my sources. Similar to Mira Schendel’s Droguninhas (Little nothings) series, I twist, knot, chain, and weave paper to create objects that reveals and conceals upon itself. Trusting the materials to hold its integrity, while I forcefully alter its form, resembles the trust a writer would have for their written words to relay their message with the correct intent.

In the piece called Notebook 1, I am using the pages of a notebook that was a grade-school correspondence with a good friend. When I first read through this book, I became interested in how sarcasm, jokes, and hurtful words never seemed to carry the impact on paper as it would if spoken. Often the words are diluted by grammatical errors or because of my distance to the context. By manipulating the pages into a chain the words are disconnected from their context even more. Hurtful words from one sentence are now positioned in close proximity to jokes from a different sentence. Parts of the narrative are completely forgotten, but in this new configuration all the words carry equal importance.