Saturday, April 30, 2011
Wednesday, April 27, 2011
NY Times Review of the Blinky Palermo Retrospective
"Thinking Outside the Canvas" by Roberta Smith: http://nyti.ms/hLHSFO
Tuesday, April 26, 2011
Internship Opportunity
New Baltimore Collegetown Internship:
http://www.baltimorecollegetown.org/internships/details/609/
Organization: Young Audiences Arts for Learning
Department: Program Department
Position: Program and Outreach Intern, SUMMER
Contact: Cara Schaefer
Title: Assistant to the Executive Director and Operations Manager
Address:
2601 North Howard Street, Suite 320
Baltimore, MD 21218
Phone: 410-837-7577
Fax: 410-837-7579
Email: Cara@yamd.org
URL: www.yamd.org
Category: Nonprofit
Service: Our Vision is that one day EVERY student in Maryland will have the opportunity to Imagine, Create, and realize their full potential through the ARTS!
Semesters: Spring (February - May), Summer (June - August), Fall (September - December), Winter (January)
Year: 2011
Responsibilities:
• Work with the Program Director to increase the reach of arts education programming to more students across the state of Maryland.
• Oversee the distribution and collection of assembly and residency program evaluations.
• Make site visits and evaluate running programs and artists.
• Create and distribute contracts for assembly programs to artists and school contacts.
• Assist on-site manager, with Baltimore City Public Schools, Summer Learning Academies- providing on-site support to teachers, artists, and students.
• Update and design Teacher Guides for all arts programs on our roster.
• Work with the marketing department to develop targeted marketing materials and mailing lists to increase visibility in underserved areas of the state.
• Participate in a website redesign, including generating new text, choosing photos and references, and assisting with layout.
• Assist with planning artist-in-residency programs.
• Collect and analyze data pertinent to programming, student reach, marketing, and development.
• Assist with filing and other administrative tasks.
• Assist with special projects
Desired Skills:
• Can do attitude, strong interpersonal skills, positive attitude • Microsoft Office skills, Excel experience a plus • Proficient writing skills • Some understanding of the arts community, Maryland school system, and non-profits
Workdays: flexible
Paid: No
What materials do you require for application?
Resume, Cover Letter, Writing Sample
http://www.baltimorecollegetown.org/internships/details/609/
Organization: Young Audiences Arts for Learning
Department: Program Department
Position: Program and Outreach Intern, SUMMER
Contact: Cara Schaefer
Title: Assistant to the Executive Director and Operations Manager
Address:
2601 North Howard Street, Suite 320
Baltimore, MD 21218
Phone: 410-837-7577
Fax: 410-837-7579
Email: Cara@yamd.org
URL: www.yamd.org
Category: Nonprofit
Service: Our Vision is that one day EVERY student in Maryland will have the opportunity to Imagine, Create, and realize their full potential through the ARTS!
Semesters: Spring (February - May), Summer (June - August), Fall (September - December), Winter (January)
Year: 2011
Responsibilities:
• Work with the Program Director to increase the reach of arts education programming to more students across the state of Maryland.
• Oversee the distribution and collection of assembly and residency program evaluations.
• Make site visits and evaluate running programs and artists.
• Create and distribute contracts for assembly programs to artists and school contacts.
• Assist on-site manager, with Baltimore City Public Schools, Summer Learning Academies- providing on-site support to teachers, artists, and students.
• Update and design Teacher Guides for all arts programs on our roster.
• Work with the marketing department to develop targeted marketing materials and mailing lists to increase visibility in underserved areas of the state.
• Participate in a website redesign, including generating new text, choosing photos and references, and assisting with layout.
• Assist with planning artist-in-residency programs.
• Collect and analyze data pertinent to programming, student reach, marketing, and development.
• Assist with filing and other administrative tasks.
• Assist with special projects
Desired Skills:
• Can do attitude, strong interpersonal skills, positive attitude • Microsoft Office skills, Excel experience a plus • Proficient writing skills • Some understanding of the arts community, Maryland school system, and non-profits
Workdays: flexible
Paid: No
What materials do you require for application?
Resume, Cover Letter, Writing Sample
Artist Talk TONIGHT!
Josh Haycraft aka BHBITB will be speaking TONIGHT in the art history lecture room in Peterson Hall, 7:30 pm! Get off the couch, bring your dinner, don't miss this talk!
Monday, April 25, 2011
The Incredible Whiteness of Art-Museum Audiences
Here's a link to the article I referenced in today's discussion: http://bit.ly/hwDpkP. Niborama is a great blog to be aware of--it's written by the executive editor of ARTnews, Robin Cembalest.
Here's the text (to access links within the article, visit the blog):
"The recent New York Times story about an artist who turns couch surfing into relational aesthetics raised some interesting issues: in an age when the bunking at museums is becoming more commonplace—both as art piece and outreach—the idea of bringing the sleepover-art concept outside the walls of the museum seems quite logical. But it was after the jump, as we say in the biz, that the artist, who goes by the name Kenya (Robinson) [parenthesis intended], described a more revealing aspect of her relation to the mainstream art world. When she went to Marina Abramovic’s retrospective at MoMA, (Robinson) said, the guard told her she was a rare African-American face in the crowd. So (Robinson) organized groups of 15-20 people of color to come to the museum, she told the Times—but they never got to the front of the line to sit across from Abramovic. Given that lots of people never made it either, that unfortunately resonant metaphor seems less disappointing than the that fact museum demographics clearly remain out of whack with the general population. There are plenty of studies that bear this out—but a glance around most museums or art galleries will suffice.
Of course, as museum directors note, the percentages change when you’re talking about school groups—and, in a report that the American Association of Museums released today, 21.7 percent of museums surveyed spent more on K-12 education in 2010 than they did before. But that’s all museums, not just art museums—and it’s still not good enough. Yet when Arnold Lehman tries different ways to attract more diverse audiences to the Brooklyn Museum, he’s pilloried for not bringing in enough of them. “Only” 340,000 people? Maybe it’s the right 340,000.
Recent surveys trumpet the fact that museum attendance is rising—at least in some of the places at some of the time. But it’s urgent that museums keep trying different ways to attract more diverse audiences, until they get it right—and even if they get it wrong along the way. That means working to bridge the divide between curatorial and education departments until they figure out into how to convert those students into repeat visitors. It means acknowledging that admission fees are preventing those students from coming with their families—in LaPlaca Cohen’s study, 49 percent of respondents said they had decreased their attendance at cultural events because of the economy. (The AAM says the average museum admission fee is “just $7.”)
It also means that professional organizations dedicated to advocacy and networking start rethinking the admission rules and membership fees that turn away the very people they supposedly want to embrace. A look at the attendees at recent award ceremonies for the United States section of the International Association of Art Critics and ArtTable showed how much work remains to be done. Let’s put it this way: Not too many people looked like the guards."
Here's the text (to access links within the article, visit the blog):
"The recent New York Times story about an artist who turns couch surfing into relational aesthetics raised some interesting issues: in an age when the bunking at museums is becoming more commonplace—both as art piece and outreach—the idea of bringing the sleepover-art concept outside the walls of the museum seems quite logical. But it was after the jump, as we say in the biz, that the artist, who goes by the name Kenya (Robinson) [parenthesis intended], described a more revealing aspect of her relation to the mainstream art world. When she went to Marina Abramovic’s retrospective at MoMA, (Robinson) said, the guard told her she was a rare African-American face in the crowd. So (Robinson) organized groups of 15-20 people of color to come to the museum, she told the Times—but they never got to the front of the line to sit across from Abramovic. Given that lots of people never made it either, that unfortunately resonant metaphor seems less disappointing than the that fact museum demographics clearly remain out of whack with the general population. There are plenty of studies that bear this out—but a glance around most museums or art galleries will suffice.
Of course, as museum directors note, the percentages change when you’re talking about school groups—and, in a report that the American Association of Museums released today, 21.7 percent of museums surveyed spent more on K-12 education in 2010 than they did before. But that’s all museums, not just art museums—and it’s still not good enough. Yet when Arnold Lehman tries different ways to attract more diverse audiences to the Brooklyn Museum, he’s pilloried for not bringing in enough of them. “Only” 340,000 people? Maybe it’s the right 340,000.
Recent surveys trumpet the fact that museum attendance is rising—at least in some of the places at some of the time. But it’s urgent that museums keep trying different ways to attract more diverse audiences, until they get it right—and even if they get it wrong along the way. That means working to bridge the divide between curatorial and education departments until they figure out into how to convert those students into repeat visitors. It means acknowledging that admission fees are preventing those students from coming with their families—in LaPlaca Cohen’s study, 49 percent of respondents said they had decreased their attendance at cultural events because of the economy. (The AAM says the average museum admission fee is “just $7.”)
It also means that professional organizations dedicated to advocacy and networking start rethinking the admission rules and membership fees that turn away the very people they supposedly want to embrace. A look at the attendees at recent award ceremonies for the United States section of the International Association of Art Critics and ArtTable showed how much work remains to be done. Let’s put it this way: Not too many people looked like the guards."
Sunday, April 24, 2011
2 Opportunities
1. More is More
LAL provides exhibition and instructor opportunities for local, regional, national and international artists alike! http://bit.ly/eqjnO0
Exhibition Dates: July 22 – September 10, 2011
Entry Deadline: April 22, 2011
See the Call for Entries Poster
More is More examines a common tendency towards multiples and repetition in contemporary art. Our love and worship of multiples takes on many forms, including both repeating objects and images. Are we responding to an influence from industry, technology, materialism and consumerism? Or is this exponential growth from a more abstract desire or compulsion? Regardless where the pattern originated, these serial acts have profound implications about the society that created them. This national juried exhibition offers artists’ exploring the concept of multiples, repetition or abundance, in any media, a chance to exhibit the results. LAL invites artists to openly and creatively interpret this theme.
Artists may submit images and/or videos of their work along with an entry form, exhibition statement, and resume for consideration. All media will be considered.
Eligibility and Media
All artists and designers, age 18 and older, are eligible to enter More Is More. All media and styles will be considered. No reproductions will be accepted. All works must have been completed since 2005 and not previously shown in any LAL gallery.
2. "Young Porfolios" program
In an effort to preserve works by young persons enthusiastic about expressing themselves through the art of photography, the Kiyosato Museum of Photographic Arts(K*MoPA) issues an annual call for submissions to its "Young Porfolios" program. This is not a contest. All photographers, professional or amateur and regardless of nationality, are invited to submit their published or unpublished works to be considered for induction into the Museum's permanent collection. The single condition is that applicants must be 35 years old or younger. We look forward to receiving unique images showcasing the creativity of younger artists in the field of photography.
http://yp.kmopa.org/index.php?ml_lang=en
LAL provides exhibition and instructor opportunities for local, regional, national and international artists alike! http://bit.ly/eqjnO0
Exhibition Dates: July 22 – September 10, 2011
Entry Deadline: April 22, 2011
See the Call for Entries Poster
More is More examines a common tendency towards multiples and repetition in contemporary art. Our love and worship of multiples takes on many forms, including both repeating objects and images. Are we responding to an influence from industry, technology, materialism and consumerism? Or is this exponential growth from a more abstract desire or compulsion? Regardless where the pattern originated, these serial acts have profound implications about the society that created them. This national juried exhibition offers artists’ exploring the concept of multiples, repetition or abundance, in any media, a chance to exhibit the results. LAL invites artists to openly and creatively interpret this theme.
Artists may submit images and/or videos of their work along with an entry form, exhibition statement, and resume for consideration. All media will be considered.
Eligibility and Media
All artists and designers, age 18 and older, are eligible to enter More Is More. All media and styles will be considered. No reproductions will be accepted. All works must have been completed since 2005 and not previously shown in any LAL gallery.
2. "Young Porfolios" program
In an effort to preserve works by young persons enthusiastic about expressing themselves through the art of photography, the Kiyosato Museum of Photographic Arts(K*MoPA) issues an annual call for submissions to its "Young Porfolios" program. This is not a contest. All photographers, professional or amateur and regardless of nationality, are invited to submit their published or unpublished works to be considered for induction into the Museum's permanent collection. The single condition is that applicants must be 35 years old or younger. We look forward to receiving unique images showcasing the creativity of younger artists in the field of photography.
http://yp.kmopa.org/index.php?ml_lang=en
Thursday, April 21, 2011
Lindsey's Discussion Questions
1.) The first question posed at the beginning is what is the Contemporary? The term contemporary has been discussed in great lengths; What is your personal definition of Contemporary Art? Does it line up with Groys' definitions? Relate your definition your personal work.
2.) While reading, a passage that stuck out to me the most was: "The present is a moment in time when we decide to lower our expectations of the future or to abandon some of the dear traditions of the past in order to pass through the narrow gate of the here-and-now" What is your response to this statement? Do you agree? Can you relate it to how you approach your body of work?
3.) Groys speaks in depth about art evolving and time. Where do you see art in the next 10 years? 15?
2.) While reading, a passage that stuck out to me the most was: "The present is a moment in time when we decide to lower our expectations of the future or to abandon some of the dear traditions of the past in order to pass through the narrow gate of the here-and-now" What is your response to this statement? Do you agree? Can you relate it to how you approach your body of work?
3.) Groys speaks in depth about art evolving and time. Where do you see art in the next 10 years? 15?
Wednesday, April 20, 2011
Kirstin's Questions for "Comrades of Time" by Boris Groys
1) Groys describes one viewpoint that art is only truly contemporary if it captures the present in a way that is totally uncorrupted by past traditions or ideas for the future. Later we are given a contrasting viewpoint that states that the present is always corrupted by the past and future.
Which viewpoint do you agree with more? Do you think that it is even possible for the present to be completely free of influence from the past and future? Does influence from the past and future necessarily have to be a bad thing?
2) The article describes the present, especially contemplation of the present, as a barrier impeding the natural flow of time and the realization of ideas for the future. Part of this is due to our persistent boredom with the present. We tend to not be able to describe what the present means and look to the past and future with excitement.
Do you agree that we generally take the present for granted and do you think that this boredom interferes with the artistic process? Have you experienced this when it comes to your own work?
3) Groys talks about how in our time, because of all of the technology at our disposal, it is possible for anyone to be an artist and that because of this we live in a time of all artists and no spectators.
Do you think that it is possible for someone to be a spectator in a time when art is so participatory in nature? Do you think the ability to view art from the comfort of our own homes is a threat to viewing artwork in galleries?
Questions for "Comrades of Time" by Boris Groys
Chloe stole two of my questions, so here goes and let's hear what you think!
1) On p.23, Derrida (via Groys' interpretation) claims that "the present is originally corrupted by past and future." In our art classes, we are told time and time again not to "create art in a vacuum" and to look at outside sources. Does this essentially mean we are corrupting our art? Explain.
2) Groys explains how modernism moves forward using less and less "baggage," resulting in a stream-lined, highly reduced present (p. 24). Can this trend continue? Is it possible to keep shedding old ideals and create art that is even more reduced? Does this trend apply to your own artworks?
3) Do you agree with Groys' analyzes of museums on p.27, where he explains one anticipates everything in a museum to be art, that museums are no longer homes for permanent collections, etc? Can you think of any specific examples that come to mind, and is this a "good thing" (as in, should museums be a revolving door of artwork)?
4) Explain the duality of the negative and positive points of time-based art, presented by Groys on p.39 (last paragraph). Is time-based art really its own "comrade in time?"
1) On p.23, Derrida (via Groys' interpretation) claims that "the present is originally corrupted by past and future." In our art classes, we are told time and time again not to "create art in a vacuum" and to look at outside sources. Does this essentially mean we are corrupting our art? Explain.
2) Groys explains how modernism moves forward using less and less "baggage," resulting in a stream-lined, highly reduced present (p. 24). Can this trend continue? Is it possible to keep shedding old ideals and create art that is even more reduced? Does this trend apply to your own artworks?
3) Do you agree with Groys' analyzes of museums on p.27, where he explains one anticipates everything in a museum to be art, that museums are no longer homes for permanent collections, etc? Can you think of any specific examples that come to mind, and is this a "good thing" (as in, should museums be a revolving door of artwork)?
4) Explain the duality of the negative and positive points of time-based art, presented by Groys on p.39 (last paragraph). Is time-based art really its own "comrade in time?"
Questions for Reading #5, Comrades of Time by Boris Groys
Be specific! Reference the text!
1) Watch Francis Alys’ video “Politics of Rehearsal” here: http://bit.ly/gbTVUj
Reactions? Comments? Questions? Based on what Groys is saying in this section (pg. 30-31), do you think this is an appropriate example?
2) On page 32, Groys states that “To be contemporary does not necessarily mean to be present, to be here-and-now; it means to be “with time” rather than “in time.”
What does “contemporary” mean to you? Can you find an example of an artist you feel, based on this reading and Groys’ own criteria, to be the most “contemporary?” Post an image of the artist’s work along with an explanation.
3) Define vita activa, vita contemplative, and heterotopia. What are the origins of these terms and why are they used/relevant in the reading?
4) Groys asks on page 36, “How can a contemporary artist survive this popular success of contemporary art? Or, how can the artist survive in a world in which everyone can, after all, become an artist?” What do you think? Use specific examples (artists, quotes, viral videos, other readings, etc.) to back up your response.
1) Watch Francis Alys’ video “Politics of Rehearsal” here: http://bit.ly/gbTVUj
Reactions? Comments? Questions? Based on what Groys is saying in this section (pg. 30-31), do you think this is an appropriate example?
2) On page 32, Groys states that “To be contemporary does not necessarily mean to be present, to be here-and-now; it means to be “with time” rather than “in time.”
What does “contemporary” mean to you? Can you find an example of an artist you feel, based on this reading and Groys’ own criteria, to be the most “contemporary?” Post an image of the artist’s work along with an explanation.
3) Define vita activa, vita contemplative, and heterotopia. What are the origins of these terms and why are they used/relevant in the reading?
4) Groys asks on page 36, “How can a contemporary artist survive this popular success of contemporary art? Or, how can the artist survive in a world in which everyone can, after all, become an artist?” What do you think? Use specific examples (artists, quotes, viral videos, other readings, etc.) to back up your response.
Monday, April 18, 2011
Review of Rachel Whiteread's Show in NYC
Here's another example of a not-so-flattering review of Rachel Whiteread's show at Luhring Augustine in Chelsea. A few of us saw this show last month--do you agree with the reviewer?
http://bit.ly/i0foPs
Visiting Artist: Josh Haycraft aka BHBITB lectures on Tuesday 4/26!
Our second and final visiting artist of the semester, Josh Haycraft, will be lecturing on Tuesday April 26th at 7:30 pm in Peterson. Josh received an MFA in Interdisciplinary Studio Art from MICA's Mount Royal School of Art graduate program in 2009. He currently teaches at Westwood College in Arlington, VA and at MICA. For more about Josh, visit www.bhbitb.com
Remember that your attendance is mandatory!
Final Critique Schedule
Final critiques begin Wednesday 4/27! Here's a list of who's going when:
Wednesday 4/27
Stephanie
Lindsay R.
Mary
Jordan
Kirstin
Kara
Nick
Mike
Dane
Monday 5/2
Sarah
Kristin
Joanna
Caitlin
Meg
Meghan
Kasey
Jess
Anna
Be ready!
Wednesday 4/27
Stephanie
Lindsay R.
Mary
Jordan
Kirstin
Kara
Nick
Mike
Dane
Monday 5/2
Sarah
Kristin
Joanna
Caitlin
Meg
Meghan
Kasey
Jess
Anna
Be ready!
Final Presentation Guidelines
We will begin final presentations on WEDNESDAY May 4th—our final exam time is Tuesday May 10th, 6:30-9:30 pm. Those who have other exams during our exam time will be expected to present on May 4th. No exceptions—you must present to receive credit.
CRITERIA:
-Format: Microsoft PowerPoint slide presentation
-What needs to be included?:
-Your revised artist statement. You will also turn in a hard copy to me when you present. No emails! (20 points)
-3 Artist Influences. Include images of their work and talk about why they are relevant to you. (20 points)
-Baltimore Artist Project. See the project sheet for all criteria. If you met with your artist, hopefully you have documentation. Include images of their work, facts about them, why you chose them, anything you feel the need to share. Remember that you should have been communicating with this person throughout the entire semester. Feel free to share parts of their artist statement, any shows they’ve been in, etc. Also include any failed attempts and explain why it didn’t work out. Again, see the sheet. (60 points)
-Daily Chronicles Project. Images of development/progress, include images of any “failed” attempts or adjustments you made throughout the semester. (50 points)
-If you’re in Advanced 2-4, include any work you did in previous semesters that lead you to where you are with your work currently.
-Everyone must include images of ALL work completed/in progress/incomplete this semester. Include any “failures”, sketches, notes, diagrams, studies, etc. that lead to final pieces, then of course include images of “completed” pieces. I’m going to go over image formatting so that you can re-format your image sizes and not have to turn in such a large presentation that it crashes my computer. We’ll also be going over how to document your work (taking digital photos, scanning, etc). (50 points)
-Include any thoughts about where you think the direction of your work will be heading next.
Total: 200 points
Your presentation should last no more than 15 minutes, so pace yourself. You’ve got a lot of info to share—be concise, edit yourself, practice.
I don’t want to see any stock backgrounds, slide transitions, music/sound additions, etc. Remember that this presentation represents you as an artist—keep it neat and professional, and again, edit yourself. Feel free to contact me with any questions.
Sunday, April 17, 2011
Sketchbooks due Monday 5/2
Here's what I'm looking for when I grade your sketchbooks:
-Have you researched artists that have been suggested for you to look up? Are you researching artists at all? (printed out images, notes, etc)
-Are you taking notes about feedback given to you in critiques?
-Are you doing thumbnails sketches and drawings for future projects?
-Are you planning for future projects? (tests, experiments)
-Are you taking notes on any other research you're doing? (about materials, articles, essays, books, etc)
-Are you using your sketchbook as a tool to record your interests/thoughts related to your studio practice?
Your sketchbooks are due no later than Monday 5/2 (no exceptions), and I'll start accepting them for grading next week if you feel you're ready. I'll have them graded and returned to you on Wednesday 5/4.
-Have you researched artists that have been suggested for you to look up? Are you researching artists at all? (printed out images, notes, etc)
-Are you taking notes about feedback given to you in critiques?
-Are you doing thumbnails sketches and drawings for future projects?
-Are you planning for future projects? (tests, experiments)
-Are you taking notes on any other research you're doing? (about materials, articles, essays, books, etc)
-Are you using your sketchbook as a tool to record your interests/thoughts related to your studio practice?
Your sketchbooks are due no later than Monday 5/2 (no exceptions), and I'll start accepting them for grading next week if you feel you're ready. I'll have them graded and returned to you on Wednesday 5/4.
Saturday, April 16, 2011
Opportunity
Hi all--I received this inquiry from Dawn Gold in the Human Resources department. Please contact her directly if you're interested in participating:
We are in the process of planning our summer picnic on May 27 and were trying to find some students who may be interested in coming to campus to do face painting for the kids. I realize that it is after the end of the semester but thought you may know of some local students or students who were going to remain on campus that may be interested. Any help you could provide would be greatly appreciated.
Her email address is: dgold@mcdaniel.edu
We are in the process of planning our summer picnic on May 27 and were trying to find some students who may be interested in coming to campus to do face painting for the kids. I realize that it is after the end of the semester but thought you may know of some local students or students who were going to remain on campus that may be interested. Any help you could provide would be greatly appreciated.
Her email address is: dgold@mcdaniel.edu
Tuesday, April 12, 2011
Aviv Gallery Show at Towson
My friend invited me to this photography show at Towson and I thought some people might be interesting in going. From my understanding it's work from the photography department students. It's on Friday April 29th from 7-10pm.
Towson Commons Gallery
435 York Rd.
Towson, MD
Sunday, April 10, 2011
Info about the Salon Show
Anyone participating in the Salon de Refuses Show at the Carroll County Arts Center, this post's for you!
-Your work should be matted and framed, and dropped off to me by Monday April 18th. You can either leave your work in my little office, or hand your work off during class/office hours.
-Anna Martin and Sarah Reeb will be delivering the work to CCAC on Tuesday April 19th. They will be hanging the show that day as well.
-The opening for the Salon show will be at the CCAC on Thursday April 21st at 6 pm.
-Any work not dropped off to me, Anna, or Sarah will not be included in the show, so be sure to make arrangements.
-Your work must be picked up from CCAC by May 15th or it will be thrown away!
Also, anyone participating in the Juried Show currently:
-Be sure to pick up your work on Sunday April 17th. I will be emailing campus safety a list of your names so that you can be let into the gallery to get your work. The first Senior Capstone show is going up I believe that same day, so please get your work out!
-Your work should be matted and framed, and dropped off to me by Monday April 18th. You can either leave your work in my little office, or hand your work off during class/office hours.
-Anna Martin and Sarah Reeb will be delivering the work to CCAC on Tuesday April 19th. They will be hanging the show that day as well.
-The opening for the Salon show will be at the CCAC on Thursday April 21st at 6 pm.
-Any work not dropped off to me, Anna, or Sarah will not be included in the show, so be sure to make arrangements.
-Your work must be picked up from CCAC by May 15th or it will be thrown away!
Also, anyone participating in the Juried Show currently:
-Be sure to pick up your work on Sunday April 17th. I will be emailing campus safety a list of your names so that you can be let into the gallery to get your work. The first Senior Capstone show is going up I believe that same day, so please get your work out!
2 Internship Opportunities
The first is with a company called TheCelebrityCafe.com. All the info is posted here: http://www.baltimorecollegetown.org/internships/details/588/
The second is with a company called Zynga--all info posted here: http://www.zynga.com/jobs/zu.php
The second is with a company called Zynga--all info posted here: http://www.zynga.com/jobs/zu.php
Friday, April 8, 2011
News @ Mcdaniel: Art Students Showcase Their Talents in Mixed Media
We made the McDaniel News! http://bit.ly/gIsUD5
Wednesday, April 6, 2011
Kristin's Questions for Camera Lucinda
1. From the very beginning Barthes says that, "What the Photograph reproduces to infinity has occurred only once: the Photograph mechanically repeats what could never be repeated existentially" leading to "this Photograph, and not Photography". Do you agree? Can every photo never be repeated and by the nature of this, do you think that the fleeting moment of the photo makes it a "this" instead of something more?
2.Barthes talks about the principal of adventure and how a good photograph animates him, which allows Photography to exist for him. Do you agree with him that if a photo "says nothing" to you it isn't really an image? Can an individual person say confidentially what is an image or not? Or must everyone have their own internal dialogue?
3. Barthes references numerous times that he is not a photographer. Do you think his view of Photography vs. this photo would still be the same if he was a photographer? Does the fact that he is slightly separated from the field help, hinder, or make no difference to his view on photography?
Anna's Questions for Camera Lucida
Barthes believes that a photograph is, in a sense, a "Death." The photograph is taken of a specific moment of a specific person at that moment, which cannot be reproduced. Do you agree with this belief? Why or why not?
Do you think that the author feels differently about other artistic media, such as painting, drawing, and sculpture? Do you feel differently?
The author also discusses how a photograph of a person forces the subject to be aware and self-conscious of thus an imitation of him/herself:
"In front of the lens, I am at the same time: the one I think I am, the one I want others to think I am, the one the photographer thinks I am, and the one he makes use of to exhibit his art... I do not stop imitating myself." Barthes concludes that this results in a kind of inauthenticity in the subject. Does this also apply to journalistic photography (which is more candid), such as the work of later mentioned photographer Koen Wessing? The subjects are aware of the photographer but are simultaneously involved in something much more affecting; does this still result in inauthenticity in the subject, are they on some level acting and therefore resulting in an inauthentic photograph as well?
Do you think that the author feels differently about other artistic media, such as painting, drawing, and sculpture? Do you feel differently?
The author also discusses how a photograph of a person forces the subject to be aware and self-conscious of thus an imitation of him/herself:
"In front of the lens, I am at the same time: the one I think I am, the one I want others to think I am, the one the photographer thinks I am, and the one he makes use of to exhibit his art... I do not stop imitating myself." Barthes concludes that this results in a kind of inauthenticity in the subject. Does this also apply to journalistic photography (which is more candid), such as the work of later mentioned photographer Koen Wessing? The subjects are aware of the photographer but are simultaneously involved in something much more affecting; does this still result in inauthenticity in the subject, are they on some level acting and therefore resulting in an inauthentic photograph as well?
Mike's reading questions
With an ever expanding repertoire of tools and methods for photo editing, especially in the realm of digital photography, is an image captured in this day and age truly, as the author would put it, dead? Can images take on new lives of their own on a two dimensional plane, being warped, altered or re-purposed at the leisure of the artist or, in the case of images released into the vast expanses of the internet, any individual in the world? Could we consider these images trails of a singular reality derived from the prototype, like a religious icon would have been regarded during certain periods of the byzantine empire, in the context of time, connecting all through their occurrence in relation to the original and those after it? Or does an original image merely create a jumbled grouping of parallel but stationary realities grouped together loosely by subject?
Does a photograph truly capture a moment in an image, or does it capture a representation of a perceived feeling or emotion? In an attempt to identify his personal interest in certain photos, the author categorizes based on whether a photo advenes. Is this adequate or should we consider the importance of mankind's empathetic nature and it's relation to photography as well as the entirety of the art world. Should the author have said the images makes him empathize with the prototype, or the artist or even the conveyed emotions of the images spectrum (color or black and white)?
In chapter 20, does the author place to much importance on the serendipitous nature of photos? While he obviously seems to prefer purely situational photos, does he in fact ignore the entirety of staged and studio photography (which was the sole form of the medium when it first began)?
Spring Solos at Arlington Arts Center opening next Friday!
Arlington Arts Center hosts 2 sets of solo exhibitions per year--one set in the spring, and the other in the fall. McDaniel alum and faculty member Mindy Hirt is in the first set of solos, opening Friday April 15th, 7-10 pm. The show runs from April 15-June 5, 2011. Here's the press release:
For AAC SOLOS 2011, DC collector and curator Michael Pollack and independent international curator Melissa Keys, formerly of the Perth Institute of Contemporary Art (PICA), Australia, selected this year’s crop of promising emerging contemporary artists from across the Mid-Atlantic region. Our Spring installment of SOLOS includes Mindy Hirt, Mariah Anne Johnson, Ailsa Staub, Leigh Davis, Joshua Wade Smith, and Jennifer Coster.
AAC is located at 3550 Wilson Blvd Arlington, VA 22201. For more info, visit https://www.arlingtonartscenter.org/spring-solos-2011
Travel Season: New Work by Chloe Watson opens next Friday!
I have a solo show opening at the DC Arts Center on Friday April 15th, 7-9 pm! There will be an artist/curator talk on Saturday May 7th at 5 pm. The show runs from April 15-May 8, 2011. Here's the press release:
Chloe Watson uses acrylics, colored pencil and contact paper to create abstract imagery of familiar spaces that creates a dialog between individual memories and collective spaces. Her paintings present a world of places, previous dwellings, studios, galleries, and hotel rooms. The stripping of details, save for patterns which serve as a surrogate for the real, form highly geometric representations, which become spaces for reflection and the projection of experience. --Geoff Delanoy, Curator
This is an entirely new body of work, all completed in the months after traveling extensively in the fall. For more about DCAC, visit www.dcartscenter.org. For more about me, visit www.chloeswatson.com
DCAC is located at 2438 18th St NW Washington, DC 20009
Internship Opportunity: Hirshhorn Museum in DC
The Hirshhorn Museum & Sculpture Garden is looking for summer interns to work with their Digital Learning Programs. Here's all the info:
Each summer the Hirshhorn offers workshops and organizes production teams and social clubs for DC-area youth as part of our Digital Learning Programs. This year the Museum has an opening for a paid intern. Eligible students should be enrolled in a college-level digital media, museum education, or studio art program. Experience with Apple iLife and Adobe Creative Suite is suggested; the ability to troubleshoot technology is required. The position lasts twelve consecutive forty-hour weeks, from June 6 to August 26, 2011. The workweek is Monday through Friday, 9 am to 5 pm.
About the Hirshhorn's Digital Learning Programs
The Digital Learning Programs constitute a Museum-wide initiative that teaches DC-area youth, ages 13 to 19, to use technology to create projects inspired by Hirshhorn exhibitions. In addition to the Art Lab, which provides a physical base for the DLP, there is an online social network that enables teens to share work and ideas when they are away from the Museum. There is also a full-day drop-in technology center open to teens so they can hang out, meet friends, and experiment with technology. During this time, a teen social club meets to plan events and a teen production team meets to initiate group projects. For more information, please see the ARTLAB+ website: http://artlabplus.si.edu/
Intern Responsibilities
The Digital Learning Programs intern will primarily provide workshop educators with logistical support and participants with on-site and online mentoring, guiding teens through Museum galleries and supporting production teams and social clubs in planning projects and events. The four-day workshops can be strenuous, involving activities both inside the Art Lab and outside on the National Mall. The fifth day of each week focuses on facilitating the drop-in program.
Stipend
The intern will receive a stipend of $3000 for the twelve-week period.
Applications must be completed online at https://solaa.si.edu no later than Friday, May 20, 2011. Any questions about the internship should be directed to Ryan Hill, Director of Digital Learning Programs.
For more info, visit http://hirshhorn.si.edu/info/page.asp?key=207&subkey=362
Tuesday, April 5, 2011
Congratulations Juried Show Participants!
Thank you to everyone who 1) submitted work to the juried show, 2) got your work framed and brought your work back for installation, and 3) showed up tonight for the opening reception! This is the smallest, most selective juried show the college has ever had. Here's a list of the award winners:
Best in Show: Kristin Behrle, "Connection"
1st Place: Noel Walters, "The Chocolate One"
2nd Place: Jessica Oros, "Twice a Day"
3rd Place: Megan Magee, "1/4th"
Honorable Mention: Kara Owens, "Peek Beyond"
Honorable Mention: Kirstin Bowers, "Piggies!"
Honorable Mention: Sarah Reeb, "Untitled"
Foundation Award: Casey Roberds, "Library"
Congratulations to everyone!
ARTnews Article Exploring Contemporary History Painting
Here'a link to a recent ARTnews article discussing how artists of many genres are using contemporary world events as their subject matter.
"History in the Making" by Ann Landi: http://bit.ly/i14ILX
Monday, April 4, 2011
Artwork Donations Request
This is from Roxanna Harlow who used to be faculty here:
On May 2nd, from 6:30-9:00pm in McDaniel Lounge, we will be having our Higher Learning Student Photography Exhibition and Silent Auction. It will feature photographs taken by our students throughout the last two summers. The pictures will be displayed and judged by artists and art students, with awards given to the students of winning photos.
In addition to the students' photographs, professional artwork of various mediums by different artists will be on display and presented for auction. And that’s where you would come in!
I’m wondering if you’d be willing to donate one of your (smaller?) pieces of artwork for our upcoming exhibition and silent auction. It would be wonderful to have something of yours represented with the professional art for auction. In addition, do you know of any students or other artists who may be willing to donate a piece? Perhaps someone who does sculpture or ceramics or also paints.
All proceeds will support Higher Learning students and programs. In addition, your art donation is tax deductible!
If you can let me know no later than April 4th, that would be great. If you’re able to contribute, we can then make arrangements for me to pick up your donation at a later time. Whatever the case, I hope you’ll come out for the Exhibition and spread the word!
If you have any questions, please call me at 410-900-7957 or email rharlow@higherlearning-inc.org.
Email her if you're interested in participating!
On May 2nd, from 6:30-9:00pm in McDaniel Lounge, we will be having our Higher Learning Student Photography Exhibition and Silent Auction. It will feature photographs taken by our students throughout the last two summers. The pictures will be displayed and judged by artists and art students, with awards given to the students of winning photos.
In addition to the students' photographs, professional artwork of various mediums by different artists will be on display and presented for auction. And that’s where you would come in!
I’m wondering if you’d be willing to donate one of your (smaller?) pieces of artwork for our upcoming exhibition and silent auction. It would be wonderful to have something of yours represented with the professional art for auction. In addition, do you know of any students or other artists who may be willing to donate a piece? Perhaps someone who does sculpture or ceramics or also paints.
All proceeds will support Higher Learning students and programs. In addition, your art donation is tax deductible!
If you can let me know no later than April 4th, that would be great. If you’re able to contribute, we can then make arrangements for me to pick up your donation at a later time. Whatever the case, I hope you’ll come out for the Exhibition and spread the word!
If you have any questions, please call me at 410-900-7957 or email rharlow@higherlearning-inc.org.
Email her if you're interested in participating!
Sunday, April 3, 2011
Tom Haverford on Art
Anybody watch Parks and Recreation? There's a great episode called "The Camel" where Tom Haverford discovers the power that art has over his emotions--pretty hilarious! Check it out.
The Return of the Religious in Contemporary Art by Matthew Milliner
Here's a link to an article by Matthew Milliner titled, "The Return of the Religious in Contemporary Art." This is a few months old now, but still very relevant for those of your using religious overtones in your work (whether you realize it or not).
http://huff.to/gBOCAN
http://huff.to/gBOCAN
Saturday, April 2, 2011
How To Steal Like an Artist
This is really great!! How To Steal Like An Artist (And 9 Other Things Nobody Told Me) - Austin Kleon http://bit.ly/hbAo3l
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