Katherine Wentz Undergraduate Juried Show Guidelines

The Katherine Wentz Undergraduate Show is fast approaching, and as a Studio Art major, your participation is MANDATORY (whether you're a 1st, 2nd, 3rd, or 4th year at McD). All others are welcome, and encouraged, to participate.

All art work to be considered must be submitted on WEDNESDAY, THURSDAY, or FRIDAY, MARCH 9, 10, or 11, between the hours of NOON-4 PM in the Rice Gallery in Peterson Hall.

Students may submit up to 5 pieces. All pieces must have been completed while a student at McDaniel. Work can be submitted unframed. If accepted, you will then be required to return the work by FRIDAY APRIL 1, MATTED AND FRAMED, or matted under glass (backed with foam core and attached to glass with mirror clips). Frames should be black or natural wood and mats should be white or middle gray. Any painting 48" or larger in any direction need not be framed, but should have painted sides. If you have any questions about framing requirements, please contact Chloe Watson at ext. 2770, by email chloklo@yahoo.com, or stop in during my office hours.

An outside panel of jurors (painter Jonathan Stoneyl and sculptor Seth Crawford) will jury all submitted work. All students are to go to the Rice Gallery on MONDAY MARCH 21 to see if your work has been selected for the show. THOSE PIECES NOT ACCEPTED FOR THE SHOW MUST BE RETRIEVED BEFORE 4 PM THAT DAY. NO EXCEPTIONS!

Work not accepted will be eligible for the Salon des Refuses exhibition sponsored by Ars Nova, to be held at the Carroll County Arts Center. Date TBA.

The opening reception and awards presentation will be held TUESDAY APRIL 5 at 7:00 PM in the Rice Gallery. The show closes on April 15. All work is to be picked up and removed from the Gallery by 4:00 pm on April 15. Again, NO EXCEPTIONS!

Kirstin's Article 2 Post

1. Roelstraete states that we are living in a society where "culture trumps art." Do you think this is true or can be seen in contemporary works of art today?

Definitely. I think that right now, society places much more emphasis on the culture of art and the culture of being an artist over the actual art itself. It's much more important to discuss the philosophy behind art and the meanings that an artist gives a piece than it is to analyze the actual execution of the work. Everything discussed is in terms of the artwork's deep inherent meaning and not it's success as something that took time and skill to create. Everyone wants to feel like they're an artist and that they're part of this culture, so that they appear to be a cultured and intellectual person. If they don't have the actual skill to produce incredible works of art, they discuss the philosophy behind art instead, while still claiming to be an artist. Art as a craft is often shunned in favor of more philosophical art, which I don't feel is fair. All art forms have equal value as art, and I think that our society of "culture trumps art" often forgets that.

2. Are Eastern European countries futile in their attempts to jump into the contemporary art scene? Is the art produced a step behind Western Europe and America?

I don't feel that they are futile in their attempts at all. Even if they feel like their art is a step behind the art of Western Europe and America, it doesn't mean that their art is of less value. Even in their attempts, if they are in fact futile, they are still creating art that is theirs and belongs to them.

3. What is your view on contemporary art? Is it "art-for-art's sake" or something more?

I feel that contemporary art includes any and all art that is created today. Whether it's a part of the "culture trumps art" idea, or a reaction to that mindset. It includes art for arts sake, but I don't feel like that is the art that is usually embraced.

Anna's Article 2 Post

Jess asked if it's true that we live in a society where "culture trumps art" and if we are making art for the mere sake of making art. The idea of culture trumping art is interesting because my definition of culture includes art, rather than the two being mutually exclusive. However, in our present society, material possessions and the consumerist culture itself is of such prominence in our society that the traditional idea of art as a specific realm of society is no longer applicable. Art persists in our lives in numerous ways: the way our houses are designed, the way our furniture looks, as well as with our appliances, clothing, and tech devices that the term "art" is no longer reserved for works that are created by artists for the purpose of being enjoyed as art. "Art" has meshed with our daily lives over the decades that it cannot be an isolated world. With this taken into consideration, culture has trumped art in that the way we view art is no longer as a separate entity.

Eastern Europe, in the wake of the Soviet Era, is not futile in its developments in contemporary art. The fact that art in that area of the world tends to be, to paraphrase the article, an imitation of Western contemporary styles, is not necessarily such a large problem as we might assume. Because of the heavy flood of Western consumerist culture in Eastern Europe after the onset of democracy, it was only natural that artistic styles within these cultures would be influenced by Western contemporary art. I don't think that their contribution to contemporary art (that being art that is created now, in our present time period of the modern world) is in vain. Considering that the Soviet Era ended only two decades ago, the amount that these Eastern European countries have developed culturally in that small time frame is quite remarkable; artistic expansion and individuality will most likely take more time and greater understanding of the uniqueness of the post-Soviet world within those countries. At the same time, the author of the article, if addressing contemporary art as the idea of some kind of mass production of novelty, then Eastern Europe's understanding of what contemporary art is skewed and therefore their artistic production could be problematic.

Lindsey Plevyak's Reading Responses

Do you feel that we can define contemporary art, if so what does it mean to you?

I feel that it's possible to define contemporary art, yet in doing so, one must acknowledge the influence that previous art has had on contemporary work. In the article, the author states, "The problem of what's contemporary is rooted, {Foster's respondents say} in everything from art history's being established as an autonomous academic discipline in the mid-19th century to contemporary art's sometimes being considered exempt from that discipline." The important point of this, is that contemporary art may be defined as new and modern but its roots are deep and based off of the influences of artists from the past.

Foster is quoted asking "is this floating-free [present art practice] real or imaginary?" Do you think the freedom of art has turned around the definition of art?

I think art has had the ability to express freedom. Art that was created prior to the 19th Century was based greatly on ideals that had been passed through through out the centuries, and were built upon in new, expressive ways. Most art had some religious ideals or controversial issues of the time, where as work today is somehow slightly more original and is exploring the freedom of being abstract and timeless, in the sense of it having no historic boundaries. I think the freedom of contemporary art, both to create and to explore, has significant impacted the definition of art and has reshaped what is considered art today.

JoAnna's Response to Article 2's Questions

The Art of Being Contemporary

Jess Question #1.) I don’t think that culture “trumps” art necessarily, but I believe that art cannot avoid being influenced by cultural surroundings. And yes, it is true that it can be seen in works today. No matter what, I think culture will 'trump' in some contemporary artist’s work in some way.

Mary’s question #2.) I thought this was a very interesting question. And I think it is possible for future historians to label our contemporary art in some way. I think it will be more difficult maybe, because there are numerous contemporary artists, and it seems that there are many more branches of ideas and thought that have formed now, compared to the past (Baroque artists). But I think it could still be defined indefinitely. I know in my art history classes, when my professors will talk about an art era from past, such as Baroque (or Impressionism, or Dada…etc.) they will say something like, “ The concept and history behind [Dadaism] is much more complex than what I am about to tell you in this short semester, but here is the main idea behind it…” They will go on to explain, in brief, Dadaism. I think that in the future this could be said about the art from this era as well.

As for defining contemporary art (Lindsay’s question #1), I don’t think we can put it in a box just yet. We can leave that for future historians.

Kara’s questions #1&2.) I really liked the questions Kara posed because I found myself underling the same passages from the article and asking the same questions. As for question #2, I also agree that the article did spend a lot of time trying to define contemporary as opposed to “art”, but it talked mainly about how contemporary art is affected today buy culture and its surroundings. One of the statements I found interesting was this: “...we’re living in a much different art world—colder, more analytical and with a more fraught relation to commercialism.” I think that because of this some artist will try and avoid the “homogenous market.”

Cat for Adoption

So this post is obviously not art related! My fiance and I are trying to re-home our cat Terry. Terry HATES our other cat and is making our lives miserable, and he's not very happy in our one bedroom apartment either. Ideally, Terry would live on a farm, be a barn cat, and would be able to go inside and outside (we can't let him out since we live in downtown Bmore). He's not good with other cats (ie why we are trying to find him a new home) and would probably not be good with kids. He's very affectionate, but on his own terms--he'll come to you when he wants to be petted, doesn't like being picked up, and basically just likes to do his own thing. He's a Maine Coon mix, about 15 lbs, and is generally a large cat. Let me know if you or someone you know is interested!

Olafur Eliasson, Round Rainbow

A photo I took of Olafur Eliasson's piece, Round Rainbow, currently on view in the Color Forms show at the Hirshhorn in DC. Here's a short video of the piece: http://bit.ly/enBMXH

Example of a Critical and Not-So-Flattering Show Review

From today's New York Times: http://nyti.ms/gh7MPA
A review of Pierre Huyghe's latest show at Marian Goodman Gallery in NYC by a critic you should all become familiar with, Roberta Smith.

Robert Swain

I was looking at www.minusspace.com and saw this artist. I really like what he's doing with color and thought it might be of interest to some people in class.

http://www.robertswainnyc.com/

Kara O's Discussion Questions

1. Do you believe that today's art world is trying to be "homogenous to the market"? Do you think that art worlds like China's (where it's based off knowing people and museums are rooms for rent) are creating this homogenous market?

2. The review states that "What is Contemporary Art?" just discusses the definition of what is contemporary. Do you think that we as a society should be discussing the definition of what is art as well? What would you define it as (or begin to)?

3. Foster is quoted asking "is this floating-free [present art practice] real or imaginary?" Do you think the freedom of art has turned around the definition of art?

Lindsay's Discussion Questions to "The Art of Being Contemporary"

1. Do you feel that we can define contemporary art, if so what does it mean to you?

2. Medina says, "Contemporary art gives our capitalist society a convenient alignment of consumable art, the rich people who finance it and an academy that docilely goes along for the ride," do you agree or disagree?

3. Medina also says, "The only way that contemporary art could possibly redeem itself is by rendering obsolete the narratives that give so much weight to art made in cities steeped in colonialism and imperialism." How do you feel about this?

Mary's Discussion Questions

1. Roelstraete believes that our society has become a "cold-blooded culture-technology-management-sexuality system whose main practicality is that it's 'homogenous to the market.'" Do you believe this is true? If society has become this way, what does that mean for the future?

2. Will contemporary art be more easily defined in the future, just as Baroque art may be more easily identified now than it was in the 18th century?

3. If you had to pinpoint a specific "spirit" of contemporary art, what would it be?

Jess's Questions for "The Art of Being Contemporary"

1. Roelstraete states that we are living in a society where "culture trumps art." Do you think this is true or can be seen in contemporary works of art today?

2. Are Eastern European countries futile in their attempts to jump into the contemporary art scene? Is the art produced a step behind Western Europe and America?

3. What is your view on contemporary art? Is it "art-for-art's sake" or something more?

Lee Oliver: Define Home

Installation shots of Lee Oliver's fiber show, Define Home. February 22-March 18.

iPhone Drawings and Animations: Jon Stonely

Artist/painter/carpenter/my friend Jon Stonely has been doing "paintings" on his iPhone for some time now--he uses an app called Brushes. I recently stumbled upon these animations he's been making with them, and I think they are brilliant. What a fantastic way to incorporate the accessibility of today's technology into one's studio practice.

Here are some links:
iPhone Landscape with Birds: http://bit.ly/f6NG2r
iPhone Drawing: http://bit.ly/i8fj2p
Drawings Notebook: http://bit.ly/dRqbnD

You can also access these and images of his work on his website www.jonathanstonely.com. Jon is also one of the jurors for this year's Juried Undergraduate show.

Instructables.com

Not sure how to make something? Try www.instructables.com

This is a pretty great resource for recipes, DIY projects, and hacks. It's free to sign up and you can download PDF's of "How To" instructions for each project. Here are some examples of projects:

-Make Pro Rubber Stamps
-Glowing Plastic Spoon Tulips
-Turn Leather Belts into Pens
-Kinetic Marble Track Around the Top of a Room
-Photography Light Box

Photographers! This is a MUST SEE!

I am tempted to make this mandatory for Advanced Studio photographers...

Seeing Now: Photography Since 1960 just opened at the Baltimore Museum of Art and runs until May 15, 2011. "More than 200 provocative and compelling images showcase photography's extraordinary development since 1960 in this gripping exhibition of moving and at times frank subjects. Seeing Now offers a striking snapshot of the world around us as seen through the eyes of more than 60 photographers—including Diane Arbus, William Eggleston, Gary Winogrand, and Cindy Sherman."

And the best part about the BMA--it's free to enter! For more info, visit http://www.artbma.org/exhibitions/seeing-now/

Helpp mee

Hi guys, favor to ask. I am currently trying to look up artist statements for some artist who inspire me. I keep getting links to bios and not their actual artist statements. Do any of you guys know of a good website to look at for this? Thankie :)!

me

Material Girls: Contemporary Black Women Artists

Material Girls: Contemporary Black Women Artists is currently on view at the Reginald F. Lewis Museum in downtown Baltimore. For more information, visit http://www.africanamericanculture.org/materialgirls.html

This post's for Mike: Heath Ceramics

Heath Ceramics is a California-based pottery company with a "strong emphasis on design, handcrafted techniques, and the reinvigoration of the company’s designer-maker legacy." My former roommates are huge fans and received many different sets of tableware as wedding presents. Visit their website here: http://www.heathceramics.com/go/heath/

Also, the Heath LA studio director, Adam Silverman, has a really interesting blog located here: http://kimbellproject.wordpress.com/

Visiting Critic: Jason Irla

Our first visiting critic coming to meet with some of you is video artist/painter/graphic designer, Jason Irla. Jason graduated from Bennington College and went on to earn his MFA in Interdisciplinary Studio Art from MICA's Mount Royal School of Art. He's currently a graphic designer/production artist at Royal Books in Baltimore, MD and is working on new video projects.

He'll be with us on the Hill on Wednesday, February 23rd. For more about Jason and his work, visit www.jasonirla.com.

Blinky Palermo Retrospective Opening Soon at the Hirshhorn

A retrospective of painter Blinky Palermo's work will open at the Hirshhorn Museum on February 24th! The exhibition runs until May 15. For more info, visit www.hirshhorn.si.edu

Suprasensorial: Experiments in Light, Color, and Space Coming to the Hirshhorn this Summer

The Hirshhorn Museum in Washington, DC is going to have an AMAZING show coming it's way this summer called Suprasensorial: Experiments in Light, Color, and Space. It opens June 23rd. For more info, go to www.hirshhorn.si.edu

Collective Archive at School 33

I'm in a show coming up at School 33 Art Center in Baltimore. Visit www.school33.org for all the info

Meg's Responses to "Studio Revisted"

Ooops, missed the 7am deadline. Oh well, here's my responses anyway:

Kasey 1) I think confusing criticism with disapproval stems from education- the nineties were notorious for the "Every kid's a winner!" movement where you received "participation" trophies and whatnot (myself included- I still have little green buttons that say "GOOD JOB- FIELD DAY 1996 for the long jump and 100km dash that I failed). The only "feedback" teachers offered was red ink on written papers. It seems that this has unconsiously made criticism seem like a bad thing. Personally, I have wretched self-esteem and see critique as a way to improve myself. In reality, artists (and people in life) should see it the same way. An art critic, your boss, whatever- they are people in the same field as you who most likely just want the best you can offer. Why not give it to them? Criticism should always be constructive but I can see where it may not be. Storr's idea of silence sort of reflects that; his is neither constructive or destructive, now is it? All in all, I think it is best to develop a thick skin (thanks Steve) and just roll with the punches.

JoAnna 1) I actually agree. One of my favorite quotes is two simple words: "Artists lie." (Dr. Losch) When I present my art, I know full damn well what I intended with it but I'm not going to say everything. Because that's not what art is. "Art" is the feedback you get from those who do not have your emotional baggage, background, thought processes, style, and memories. It's a two-fold war for every work of art: what the artist put in, and what the onlooker pulls out. If the artist has a finely-crafted, cookie-cutter spiel planned, one wonders if they are in it for this two-fold process... It feels forced and sort of superficial. Sometimes if an onlooker is being really pushy it's fine to spout the same thing as they are looking for "the answer" and you're trying to hide it, but with an art critic I assume that should not be the case. What I'm trying to articulate is that the answer should be amorphic and atuned for the situation; you know, not the same every time?

However, in regards to the best artists being in their late twenties that are still questioning things? No way- I find that actually offensive despite the fact I am twenty-one. I can name so many artists who started long after that age. Age is just a number baby; it's all about intention.

Caitlin 3) I definitely agree with Gilbert-Rolfe on that. A very awesome man once said "Talent borrows, genius steals." Why? Because it's true. It's not plagarism if you make it your own, so I do not see the problems with kidnapping something that will ultimately make one's art better. Isn't that why we are forced into the same building together- to bounce ideas off each other's heads like racquetballs? Granted, I don't want someone ripping off my entire darn process, but I am not going to be offended if they pick off an idea or two. It's partially flattering. Also, with as much OUT THERE that is OUT THERE... Who's to say you kidnapped it from a colleague? I mean, it's probably obvious if it is the dude sitting right next to you, but when dealing with subject matter and themes, it is infinite. (Though, I am a pirate so this may be a little biased...)

Meg Christian

"The Studio Revisited" Responses to Kasey's Questions

1)Majorie Welsh states that she "mistakenly thought that only 'laypeople' confuse criticism with severe disapproval"

Is this true on the art world as well as our day to day life. Think of the frequent occurrence of people specifying "constructive criticism". Is criticism always supposed to be constructive?

I think that she was right in her belief that "only 'laypeople confuse criticism with severe disapproval'" was mistaken. Artists and laypeople alike recoil at the idea of criticism and specify that criticism be constructive because many can't see how even a bad critique could help them in some way. All criticism could be constructive if the person being criticized is willing to look at the critics points from an objective point of view.

2)What would be the point of destructive criticism. Would that not just be abuse as Mrs. Welsh proposes later?

I feel like even destructive criticism has a purpose if you can consider it beyond your initial emotional reaction. Even if the critics purpose is solely to get a reaction from you, it can still give you insight. Even if you come to the conclusion that the critic was wrong, the critique still serves to help you form your opinion and strengthen your purpose and goals.

3) "So for an artist to extract mere praise from a critic is a form of self-congratulation that does worse than negate the critic's presence: it foreclose on process altogether" Does only saying nice things about a piece stop progress? or could it potential keep an artist moving a pass that is working out well?

I definitely agree with this. I don't necessarily think it's wrong to receive praise because it is reassuring at times. Nor do I think it's justified to completely bash an artist or their work for no reason other than to not praise them, but only giving praise doesn't serve to help the artist grow or improve. For many artists who are really serious about what it is they do and who want to grow, they WANT criticism and only receiving praise becomes disappointing. As an artist, there is ALWAYS room to improve and get better. You should never say that "I'm finished! I'm the best artist I can possibly be!".

I really enjoyed reading this article. I feel like too many artists, and people in general, think of criticism solely as a negative thing and are unable to even be critical of themselves. Criticism, not only in art, but in your everyday life serves to push you forward. People should always strive to become a better person each and every day. This inability to recognize your own faults, this lack of self awareness, and complete unwillingness to admit that you may be wrong is an enormous problem in our world.

Kristin's Response

I was really bothered by the critic Storr saying that they would go into studios and not say anything, and silence didn't necessarily mean he didn't like the work. I realize the point he makes about needing time to take in the work and develop thoughts on it, but I feel like the whole point of a critique is feedback. And not necessarily god feedback, but I definitely agree with other people who have said it needs to be helpful or encouraging and show where things can be improved if needed. Also on that note though, I feel like artists should remember that they don't have to take all the advice given at critiques and do what people think they should. The art is ultimately the artists, and while the critics can (and should) comment, the artist can choose to do something about it.

I really thought the article's comments on mutually beneficial relationships between critics and artists were the most interesting, and how some who have developed relationships don't necessarily talk about a certain art piece but rather about an idea in general that they are both interested in.

On that note, the question posed on which would be better to have...a critic critiquing or an artist critiquing, I would have to say that they both would most likely be beneficial. I feel that it would be easier to have a critique with a fellow artist because they go through the same struggles and have unique ideas to help work through hard problems. However, a critic is good from the viewpoint of non-artists, and also from a more "meaningful" (as in looking for the meaning in) work and relating to the public and works in the past.

Jess's response to the reading

I liked JoAnna's question about the line artists feed critics. It was something I also pulled out from the reading and have wondered about when I hear artist's talks. I would agree with the saying that the more worked out the line is the dumber the art (or maybe the artist) because art should be able to speak for itself. If an artist finds themselves trying to “talk up” their art it usually means the work isn’t strong enough to stand on it’s own. However it is important to be knowledgeable and talk intelligently about your art. It is very easy to say too little and too much about your work.

The others asked questions about criticism and I did have some thoughts on that too. Criticism is generally thought of as bad. Like Kasey said we have to say constructive before it to make it sound okay. No one wants to be the person to say they don’t get something or that it doesn’t feel right. No one wants to ask, “what made you do that?” However if these comments aren’t said the artist will not improve and grow. I agree with the opposite too. If all you have to say is that something is nice or that it’s working then will an artist move on and progress if what they are doing isn’t being challenged. How many people get stuck in a rut and don’t move on until a teacher or another artist tells them it’s getting old? And while I do agree that more experienced artists do have a style it is very easy to get stuck only doing the same thing and making your art look like it hasn't changed if you don't have someone tell you okay time to do something different. Maybe it is more important to have a person there telling you when you need to refresh your ideas.

Mary's Thoughts

Caitlin #1
I think that almost everyone our age is malleable, whether as artists or not. What is going on in the world around us inevitably influences our work. In one way, our work would not exist if it were not for all of our experiences and interactions that have happened to us thus far. Although all of this stuff influences our art, it is important that we channel it all into something wholly new and unique. It's sort of like writing a paper for one of our classes. We read tons of scholarly journals to learn and understand others ideas. Then we use this knowledge to form our own ideas without plagiarizing. In the same sense, we must learn from other artists and critics and still form our own unique artistic style.

Caitlin #3
I did understand the suggestion that when a younger artist visits older, it is more of an opportunity for the younger to question and when an older artist visits a younger, it is an opportunity for the younger to receive criticism. I did not understand why two artists of the same age are more likely to steal ideas. I feel as though this is ultimately a risk between artists of all ages, especially with everything accessible through the internet. I think all artists share ideas and whether or not those ideas are stolen is dependent on individual honor rather than age. I'd like to think that all McDaniel students uphold the honor code and we do not need to worry about stealing ;)

Megan #1
If a critic had nothing nice to say, I would still rather him or her share than just leave without saying anything. I know if the critic just left I would probably freak out trying to figure out what they thought of my work on their own. I do not think that would be constructive at all because ultimately I would just tear apart every thinkable aspect of my work and decide to quit trying. If the critic said negative things, it would be tough to hear, but that is something we must go through to progress. Hopefully the criticism would be constructive and lead to positive changes in my work. I also think that it is possible to hear criticism and decide whether or not it is something you agree with. As artists we must be able to look objectively at our work and see where it needs change. Criticism from others is a helpful part of that process.

Kara O's Response

Caitlin's #1. As young artists, I think it's safe to say that we're at a malleable stage. Should we worry about the possibility of being too influenced?

What is too influenced? The problem is, art in my mind is a creation that shows your view on the world. It is expressing how you as the artist view an aspect of life, and in that sense, we need to be influenced. With this influence we can expand on what was seen before with our own ideas. I understand the concern that some may have where one isn't being influenced, but instead copying. But this is what Art History is about, learning from the artists of our past and using their influence to create our own works. We learn skills and techniques from other artists like a trade and then expand upon it.


Caitlin #3. Gilbert-Rolfe suggests that when the critic & artist are of same age an opportunity to steal ideas is presented. Is this something to worry about in Advanced Studio?
There is always the problem of ideas being "stolen" from artist to artist, but a similar age should not be a factor. We may "steal" ideas, concepts, techniques, and skill, but our work varies so much (even those with similar concepts as I know I have with some classmates) that if our art relates, we are creating for ourselves and from our own minds so it is not stealing. We forget how similar people think that when something is similar we automatically think it was stolen. We need to remember that this similarity of humanity is what connects us. (Not to get all philosophical or anything).

JoAnna #1. The article had stated "The best artist are those in their late 2os" who are still questioning things. And the more worked out the artist's "line" the dumber the art is. How do you feel about this statement? Do you agree?
Well, these two statements are vastly different. With the first statement about artists in their late 20's, I do believe that the younger age group is more malleable and able to expand upon their skills and evolve their techniques more, but we tend to forget that with practice comes something more refined. With Hannah Wilke (feminist photographer), her pieces changed from when she was young to when she reached her thirties. It was in this age of "best artists" that she found what she wanted to focus on and many of her pieces were then "similar" and perhaps could be considered in a rut. What one may fail to realize since pieces were so similar throughout her life is that her pieces that she created when older and dying were some of the most profound pieces of any of her works. She had the same style, but was able to refine and grow in her later years. I don't think there is an age for our "best work", but instead each transition we make as an artist provides more skill, variance, or another aspect to our work.

Happy Valentine's Day!

Jim Dine

Anna's Response

I was intrigued by Megan's question about being able to verbally communicate one's work to an audience so that others can understand the subject matter and conceptual background of a piece. Fully understanding something usually allows people to communicate and/or explain this "something" to others. As an art history major, being able to describe and analyze all aspects of a work of art is something that is drilled into my brain; in a way that is both beneficial and somewhat sad, there is a formula to viewing, describing, and analyzing art that art historians use. From my perspective, artists should also employ strategies when developing ideas, thereby enabling them to communicate those ideas to multiple audiences. But what if a work of art is not necessarily intricately developed? What about the elements of works that are purely emotional and spontaneous? Sometimes works are entirely emotional and spontaneous. How then do artists convey their messages to others? And should they? This viewpoint therefore becomes somewhat controversial, especially with so many standards and "rules" within the art world being broken consistently over the course of art history. Some feel that artwork should speak for itself and explanation should be secondary or not important at all. However, in contemporary society and art, explanation has become increasingly important, especially with art becoming more and more obscure.

I don't know if I can offer advice for how to improve an artist's skills with describing and defending his/her art, but developing a thorough idea and continually questioning and analyzing his/her own work often heeds positive results and benefits the artist in explaining the work to others.

Nick's opinion on "The Studio Revisited"

Also going along with Lindsay hearing the feedback from critiques can only help you get farther in your work, and also deal with getting bad feedback. Not everything you do is going to be great. And it is up to the artist what to do with that feedback. Also going with Caitlin's question about artists of the same age being able to "steal" ideas from fellow artists. What does steal actually mean in this case. Unless they are physically taking the other artist's work it is not stealing even if they do something similar. Art is about expression of the artist and no one can express something the same way. Artists may look at each others work and do something similar because they were inspired by it and that artist's ideas, but unless they are actually just copying the work or taking it. The piece will be different. The great thing about this class and knowing a lot of artists your age is to get inspired by their ideas and techniques. Isn't that what research on other artists is about anyway? And why is age a factor. I could just as easily find a fellow artist older then me and take their ideas just as easily. I know when the two are the same age who was the first to think of it can come into question, but age to me should not be a factor in art unless it is being pointed out in the art. In going along with what JoAnna and Sarah were saying about artist's in their 20s are at the perfect age because they can still evolve and question. I disagree. I think yes artists at that age do question and change techniques, media, subjects, etc. But when I become 40 if you are saying my art will not be as good because I am going to stick to what I know then kill me now. Art is always evolving and so is the artist. I believe artist always try new things and create new works on different subject matter. Artist at an older age may have their signature style, but I would think they would get sick of doing nothing different. They are just as capable to stay connected to the art world and see how things change and have new experiences and can be just as innovative. But that is what I think!

Lindsay's Discussion to Reading 1

I would like to respond to some of Megan's and Caitlin's questions. If a critic had nothing nice to say about my work I would still want to hear what they think. If they just left without saying anything I would be confused and not know what to think about my work. Obviously no one likes to hear negative feedback about our work but it is a part of being an artist. You have to listen to what others say and to be open to new ideas and suggestions. Sometimes we may like them and listen and sometimes we will keep doing what we want to do. But being an artist is all about expressing yourself and finding the best way to do that sometimes involves listening to critiques. In the article it talks about how we need to be able to talk about our work and be comfortable with it and I agree. Which is why I feel that it is very helpful that we have critiques in studio class so we can get more used to doing this. This goes along with what Caitlin said about critiquing artists work of the same age and having opportunities to steal ideas presented and if it is something we have to worry about in Advanced Studio. At a young age where we are all trying to figure out what we want to do as an artist it may be easy to use someones idea because it sounds really good to you but so far my experience in our class we have not had a problem with this.

Lindsay's Artist Picks

Mike's Baltimore Artists

Nick Corso, John Thies and Judith Frederick

"The Studio Revisited" Responses

Here are my responses to some of the discussion questions:

Megan #1:
I would say that I would rather hear what the critic has to say whether the comments are good or bad. I think any feedback would be helpful to understand how people are perceiving my work. I think if the critic were to leave without saying anything, I would just stand there just wondering what they thought about the work and hear their unbiased opinion.

JoAnna #1:
I can understand where this statement is coming from. In regards to late 20 something-year-olds, they usually still have things to figure out when it comes to their art and media. I would agree that late twenty somethings tend to "'work productively, intensely, and who haven't sorted everything out yet.'" I think this makes their work more adaptable to change and critiques. If there is something that doesn't work for them, they can experiment and change while they are early in their career. With older artists, I feel it would be too hard for them to change their style or media.

Caitlin #1:
To piggy-back my answer to JoAnna's question 1 - I feel that a young artist can get too far away from their original theme, media use, etc based on someone's opinion or feedback.

Kasey #3 (switching it up now):
I feel as humans we are constantly looking for approval. As an artist, a lot of the approval we seek deals with our art, simply because it is a very personal thing and an expression of oneself. I can understand how positive feedback can lead to the work's lack of progression. If an artist is doing something right and is being praised for it, why change? However, I feel that once an artist has found their niche, gaining positive feedback on their work can jump-start them to continue. That feedback is the approval that some artists need to continue their work as is, and to really blossom.

"The Studio Revisted" Discussion Questions; Responses

I decided I would respond to more than one Discussion Leader:

Caitlin # 1.

I feel that as young artists, influence can be both negative and positive. I feel that influence is a careful line that is drawn between your individual work and the ones who view it. In regards to the positive, because we are young, we do lack some knowledge when  addressing the standards of the much larger artistic community. Therefore, influence on our work can sometimes  be greatly needed from colleagues, instructors and critics. Because critics and instructors (mainly) are more well versed in the community aside from the limitations of a student, their input may sometimes allow our work to be cultivated and shaped in way that is more mature and that of the artistic community in which we are striving to be a part of. On the contrary, I feel that influence can also be very bad for a young artist. I feel like I struggle sometimes with this in my own work. Critic and constructive criticism is always very important; it is beneficial for a young artist to spend time looking at examples of other artists in the field and see what others are doing, ultimately to build/strengthen your work. However, I feel too much influence is not ok. Your work is your work. End of story. If you shape or conform your ideas and concepts and the message you are trying to convey, to that of an influence, you lose your unique and significant role in the community. I feel if we are too hasteful in accepting the influence of others, we could potentially jeopardize the very essence that is key to our work.

Kasey # 3

I feel that "nice" compliments are realistic, but only if the viewer can exactly explain what they like about the piece and how the elements are strengthening the piece. "This is really good," obviously does nothing to help the artist. Telling the artist why you like something shows the artist what is being done successfully so that they can continue to cultivate those aspects of their work. I think criticism is successful when it expresses both positive construction and instructions for improvement or presents the artist with areas that needs calling attention calling to. Simply saying a work is nice and you like it or this sucks and I hate it are not substantial. Referencing the article, I feel that Welish pretty much nailed my take on critic; "by virtue of engaging the art and leaving the artist with matters to think about nudges the artist further along in the creative process."

Megan # 2

Art can be incredibly personal to the artist and therefore could be difficult to present to the potential scrutiny of a viewer. However, I think that it is very important for an artist to be able to discuss the concept behind their work. Ultimately as artists, the hope is that through whatever piece of work we produce, we intend to either evoke an emotion, convey an idea or build from a concept. Sometimes, that may be very difficult for the viewer to interpret. If speaking about your work is challenging, my one suggestion would be for confidence and well versed in explaining the concept behind the piece and your vision for future work. That way, the viewer can at least have a working overview to work with.

Stephanie's Reading 1 Notes

I agree with Jordan about rather receiving negative criticism from a critic than nothing at all. At least with the negative, it provides you as an artist an opportunity to better your work. Where can your work go if there is no feedback? I also thought about JoAnna's question about self-criticism and how that relates to the studio visit. I know that I personally am my own worst critic and a perfectionist. During a critique, I always offer up doubts that I have about my work. From this article, I learned that depending on the critic self-criticism can either be a good or bad thing. I think that self-criticism gives an artist that thick skin needed to get through negative criticism from the outside. If you already look at your work with the thought of 'how would others view this' or 'what can I do to make it better', then you are ahead of the game.

If a critic ever came to my studio, I would want any criticism they could offer. They would see my work differently than I do, and that would either confirm my own doubts or possibly present new things to think about. I can then choose what to really take home; but it gives me the opportunity of viewing my work from a new perspective. While this is my ideal studio visit, the article made me realize that not all critics will do this, and you just have to be prepared for anything. Sometimes they will praise your work, sometimes they'll hate it, and sometimes they won't give any indication one way or another. Self-criticism can help in all situations though. It allows the critic to know that you are thinking about your work; and you have a basis to work from no matter what the critic says.

Reading 1

For our first reading I thought I would address Megan's questions. As far as the negative criticism that is a tough one to answer. No one really wants to hear absolutely nothing about their work, although as stated in the reading that is not always a bad sign. I think that even though it would be tough to hear I would want to hear what he or she had to say. It may not change my opinion or my style of work, but I think if they said nothing at all I would be curious of what they really thought, even though it would be hard to hear. For being able to speak about your work. I for one have a very hard time trying to express or explain myself and my work. I think a lot of making yourself better at talking about your work has to do with just becoming more confident in yourself and your work.

Painters You Should Know

http://www.mollyzuckermanhartung.com/files/Painters_we_should_know.pdf

Kasey's Discussion Questions

These were under Caitlin's comments, but so you don't miss them, here they are:

1)Majorie Welsh states that she "mistakenly thought that only 'laypeople' confuse criticism with severe disapproval"

Is this true on the art world as well as our day to day life. Think of the frequent occurrence of people specifying "constructive criticism". Is criticism always supposed to be constructive?

2)What would be the point of destructive criticism. Would that not just be abuse as Mrs. Welsh proposes later?

3) "So for an artist to extract mere praise from a critic is a form of self-congratulation that does worse than negate the critic's presence: it foreclose on process altogether" Does only saying nice things about a piece stop progress? or could it potential keep an artist moving a pass that is working out well?

Caitlin's Discussion Questions

1. As young artists, I think it's safe to say that we're at a malleable stage. Should we worry about the possibility of being too influenced?

2. Do you feel as an artist in Advanced Studio we follow these various critique protocols?

3. Gilbert-Rolfe suggests that when the critic & artist are of same age an opportunity to steal ideas is presented. Is this something to worry about in Advanced Studio... ooooohh!

"The Studio Revised" Questions by JoAnna

1.) The article had stated "The best artist are those in their late 2os" who are still questioning things. And the more worked out the artist's "line" the dumber the art is. How do you feel about this statement? Do you agree?

2.) Besides the critic critiquing the work, Gilbert-Rolfe says "he values those studio visits in which artists are objective enough to give self-criticism." What would you want to get out of a studio visit if a critic came to visit you? Do you feel that reading this article has helped you prepare for something like that?

3.). Would you feel differently if you were critiqued by an actual critic or just by another artist? And if so, how?

Artist Travels the United States, Finds Inspiration Using Google

I thought this was pretty cool. :)

http://www.theatlantic.com/technology/archive/2011/02/artist-travels-the-united-states-finds-inspiration-using-google/70788/

JoAnna's Baltimore Artists

These are my 3 artists: Rene Trevino, Tony Shore, and David Zuccerini.

In lieu of a table saw...

If you need wood cut, go see Robert Cox in the theater department. He will cut your wood for you since our table saw needs to be repaired.

Location: Alumni Hall
Email: rcox@mcdaniel.edu
Phone: ext. 4637 (on campus)

Megan's Discussion Questions

1. As artists if the critic has nothing nice to say about your work would you rather receive their negative criticism or have the critic leave and say nothing?

2. The article stressed that being able to talk about your work is important but for those who have trouble doing so what should they do to try to improve?

Meg Christian's B'more Picks

I think my order of preference goes 1) Cathleen Sachse, 2) Alexa Brooks, 3) Cara Ober.

Kirstin's Artists

The three artists I'm thinking of contacting are:

Zach Montoya

Pilar Diaz

Adam Stab

Anna Martin's Picks

Here are my artist picks so far, although I'm still looking around at other options:

Scott Ligon

Judy Simons

Jacqueline Singer

Sorry this a few hours late!

BMore Artists

I'm leaning towards Tim Campbell. But I also liked Jimmy Joe Roche and Molly Springer.

Mary's Artist Picks

My top choice is Keetra Dean Dixon. I am also interested in Matthew Kern and Nolen Strals.

Lindsey's Artist Pick

Hi Guys so here are some names as to who I am looking into:


Kate Headly 
K. Thompson
Asim Soofi


They are based in the DC area, but I am thoroughly impressed with K. Thompson, as far as some interests of mine.

Enjoy Super Bowl Sunday!

Here's a link to maybe the closest football has come to the contemporary art world:

http://www.youtube.com/watch?v=ts9eiOlmJH4

Matthew Barney, Cremaster I (clip)

Jess's Artists

The three artists I'm looking at for the project are:

Timothy Horjus

Seth Adelsberger

Jeanne Keck

Caitlin's Pick

Michelle La Perriere has more or less agreed to the assignment

Open Bag Blog

This blog is GREAT! It details basically every opening in and around Baltimore, as well as features links to local galleries. Bookmark this blog!

http://open-bag.blogspot.com/

Lindsay's Artist Picks

These are my top three picks in no specific order, however the last one does not live in Baltimore.

- Palma Allen

- James Singewald

- Scott Serfas

Nick's Picks

These are my top three artists! Not sure who is my number one draft yet.

Vincent Valerio

Jenny O'Grady

Allison Pasarew

Found them all on the Baker site. They all have work similar to mine so will see!!!

Stephanie's Artist Pick

My top choice is the photographer James Singewald.
If I have to choose someone else, it would be either Emily Campbell or Lee Goodwin.

Opportunity: Carroll County Public Library

Here's some info I was forwarded--let me know if you're interested in participating:

The Children's Services Supervisors at the Carroll County Public Libraries are planning an in-service training in April that will teach our staff about picture book illustrations. We would like part of the training to be hands-on with art. To that end, I wonder if McDaniel students could be present to demonstrate some of the techniques. For example, watercolor, pastels, torn paper collage, wood block printing, and computer art. As well, we would like to have examples of these techniques displayed for viewing. Perhaps we could borrow some students' works to display during the training sessions.

The training is scheduled for the afternoons of April 19 and 20. The students would need to be able to be present at the library's headquarters in New Windsor from approximately 2:30 - 4:00 p.m. on those days.

Please let me know by March 6th if you're interested!!

Opportunity: Alcohol Abuse Prevention Committee

Do you enjoy art and design?
Would you like to see your design printed on a t-shirt and worn by students all over campus?
DO YOU WANT TO WIN AND X-BOX KINECT?
The Wellness Center, the Alcohol Abuse Prevention Committee (AAPC), and the Office of Student Engagment are sponsoring a t-shirt design contest. The Wellness Center is seeking a student-created t-shirt design that includes a printed message which discourages high-risk drinking and promotes responsible choices about alcohol. The winning design will be printed on several hundred t-shirts and given free to students at Spring Fling this year. Students will have the opportunity to tie-dye the shirts at Spring Fling.
If you would like to enter the contest, please follow these instructions:
-Contest Deadline: 3/1/11
-Must include a picture/graphics as well as a printed message
-Must be in black and white and/or gray scale
-Must be provided in printed form to the Wellness Center. It should also be emailed to Megan Hearron at mhearron@mcdaniel.edu, if possible.
-Please keep in mind that the dimensions of a full front or back t-shirt design are 13x15”. The dimensions of a small lapel design for the front of a t-shirt are 4x4”.

Designs will be judged by the members of the AAPC, and the winner will be chosen based on the following criteria:
-The design and message must promote the AAPC’s goals of reducing high-risk drinking and increasing responsible decision-making among students.
-The design and message must be relevant to students.
-The design and message must both be suitable for the campus audience and the Spring Fling event.
-The design must have a professional and attractive appearance.

**REMEMBER, THE WINNER WILL RECEIVE AN X-BOX KINECT!
QUESTIONS? CONTACT MEGAN HEARRON IN THE WELLNESS CENTER (410-857-2243).

Baltimore Artist

Hey guys, I have my heart set on Catherine O'Connell! But if I needed to pick someone else it would either be Piper Shepard or Abdi Farah from the show "Work of Art."

thanks,

Megan Magee

Jordan's Artist Pick

I am going to talk to Jonathan Stonely!

Artist Project Idea - Kara

For artists in the Baltimore area, I have the following three:

Robert McClintock - (www.robertmcclintock.com) He's a digital photographer that works with painting in photoshop and was one of the original photographers to experiment with polaroids.

Christopher Graham - (www.charmcityphotography.com) He's a portrait and fine art photographer that runs the Charm City Photography Studio.

David Hilton - (davidhiltonphoto.blogspot.com) He does a lot of very creative, grungier nude model photography.

=] KO

Google Art Project

http://www.googleartproject.com/

This is mind-blowingly awesome!!

Artist Project Ideas

Hey everyone.
So here are the artists that I'm considering contacting for the artist project idea:
Judy Heimann - does a lot of work with decorated boxes and Mexican culture
Sarah Magida - her delicate jewelry appeals to me, but probably will be my (3rd) backup
Carly Goss - does amazing weaving work with scarves and cuff bracelets

There we go!
- Sarah

Visiting Artist: Josh Haycraft

Our 2nd visiting artist of the semester is Josh Haycraft. I am SO EXCITED Josh has agreed to come speak at McDaniel--I think he's going to blow you all away! Josh's website is located at www.bhbitb.com.

MARK YOUR CALENDARS: Josh will be speaking on Tuesday April 26 at 7:30 pm.

Visiting Artist: Andy Holtin

Our first visiting artist this semester is Andy Holtin. He is an Assistant Professor of Sculpture at American University and I am really excited to have him coming to speak to us. For more about Andy, visit his website: www.andyholtin.com

MARK YOUR CALENDARS: Andy's talk is taking place Wednesday March 2 at 7:30 pm.

Antii Laitinen

I saw this posted on a blog today and first thought how much it makes me wish it was warm outside and secondly what a great idea it is to just build your own island! Go here for more info: http://www.we-make-money-not-art.com/archives/2011/01/its-my-island.php