Monday, December 7, 2009
Mark of Venus--Future Project
What Mark Deon would make if he lived in a 22nd Venus Project future. Please see the Mark of Venus paper for a more detailed description of project.
Sunday, December 6, 2009
Abstraction-The Curator Project
For this project we were given a New York Gallery, and we had to research it to see what the current art work has in common...an overall feel of the gallery. Then we were to come up with a way to radically change the artwork or artists the museum hosted. We would be curatoring this new show at the Gallery. My Gallery was the Yosi Milo Gallery, which is a photography gallery. I noticed that the subject matter and types of photographs and such were all very broad, so I had to look for something else. So I noticed that all the pictures were very much in focus and what u saw was what it was for the most part. So that made me think about abstract paintings and other abstract art forms, and wondered if photography could also become abstract. I came up with 11 different ways to abtract a photograph, which is discussed in my paper. Here are the images I used.
Abtraction-My Paper for our Curator Project
For our last major Project we had to write a 2000 word paper along with the project. My project was about a new abstract movement in photographic art. At first glance my paper seems to not make any sense, like an abtract piece of art, but if you keep looking, you will find meaning in it.
Abstraction
Abstraction
Monday, November 30, 2009
My Anti-Artist Statement
This is an anti-artist statement, also known as a statement against the current art-world conventions. True artists would not seal themselves off to merely one subject matter, type, or way of creating art. I may primarily be a photographer, but that is not all I do, nor is it all that I want to do. My interests change as I develop. So, although I may explore my own personal issues and use art as therapeutic means for one project that does not mean that I will not explore social or scientific issues for my next project.
These laws box artists in, which only wounds our creative process. I am not against presenting information about artists and their works. But that is something that should be done with each show or even each piece, if needed. I will not classify myself and my art style because I cannot. I refuse definition.
These laws box artists in, which only wounds our creative process. I am not against presenting information about artists and their works. But that is something that should be done with each show or even each piece, if needed. I will not classify myself and my art style because I cannot. I refuse definition.
Sunday, November 29, 2009
Blaine De St. Croix
Blane De St. Croix was an interesting artists lecture that I attending last Tuesday. He is a sculptor and drawer. His works have to do with social issues in nature. For instance, he made an extremely large sculptor of the border fence between the United States and Mexico. He usually does a ton of research for each other his projects, and although he was told he couldn’t do research for this fence project he did. When he went to document to fence for recreation he tried to speak to anyone he could about it to get their opinions. Despite whatever view he might have had, he heard both sides of the story. I felt like his drawings were extremely outstanding. They were done so in such a way that parts of the drawings actually looked like photographs. I thought that they were great, although he kind of seems to view his drawings as a side project or something that he uses in the progress of his sculptures.
He spent a lot of time talking about a project he did in West Virginia about the coal mining industry and what it is doing to our beautiful mountains. I was personally interested in this because much of my family comes from Virginia and Tennessee where coal mining is also popular. My grandfather used to be a coal miner, but he was from the era when they still did it underground. Blaine spoke about coal mining that literally takes the tops of mountains right off. It is very sad. His sculptor of the upside down mountain was great.
Everything he makes, he makes exactly as it looks in real life, only miniature. He has an extraordinary eye for detail. Although it was not as funny or entertaining as the last artists lecture I went to, I enjoyed it equally because he was very sincere and passionate.
He spent a lot of time talking about a project he did in West Virginia about the coal mining industry and what it is doing to our beautiful mountains. I was personally interested in this because much of my family comes from Virginia and Tennessee where coal mining is also popular. My grandfather used to be a coal miner, but he was from the era when they still did it underground. Blaine spoke about coal mining that literally takes the tops of mountains right off. It is very sad. His sculptor of the upside down mountain was great.
Everything he makes, he makes exactly as it looks in real life, only miniature. He has an extraordinary eye for detail. Although it was not as funny or entertaining as the last artists lecture I went to, I enjoyed it equally because he was very sincere and passionate.
The Art of Maximizing Your Time
The chapter, “The Art of Maximizing Your Time,” was much more beneficial to me than the chapter I read previously (although it is actually after this one in the book). I had already been contemplating what was in common with the works I had done this semester in concepts. And although not all of my works have this in common, I feel that at this moment what makes my art special or what it is about I guess is me, in a way. I use art as a way of exploring personal issues I have, but I won’t get into that now, because I shall save that for my artist statement. This chapter not only confirmed how I felt about my own works, but it was also inspiring. It told of several artists who put everything that had into their art, which makes it all the more powerful. Sadly, this chapter did remind of the old idea that artists only become famous and/or popular after they die. All of the artists talked about in this chapter died fairly early on, way before someone should have to depart. To think that I may have to lose everything and also die before anyone takes my art seriously is a little sad, but I also know that that is not always the case, therefore I have hope. I am not sure that I entirely understand the title of the chapter or what the author meant by it. I mean he spoke of an artist who pretty much wasted away working on one painting practically her entire life and losing everything important because of this. I don’t know if one would argue that this artist really maximized her time. Although because of the way she let herself go in this painting, it made her famous (mainly after she died of course). And now people would argue that that painting is a masterpiece, so maybe she did make good use of her time because many people and artists never make a masterpiece ever.
The Art of Finding Yourself When You're Lost
What benefit was this to read? The title of the chapter is, “The Art of Finding Yourself When You’re Lost,” but I think the author gets lost in the details. I felt as though he would run off on unimportant tangents or throw in unneeded quotes. Not to mention there is only 1 small paragraph that actually addresses the title, i.e. how to find yourself, which, by the way, is odd advice. So, basically, if I am lost and need to find myself, in terms of creativity, I need to eat the same thing all the time and wear the same clothes day in and day out. Basically, I have to take out any choice or freedom I have, in order to have a good idea. Or put more elegantly, I must take away the unimportant distractions of daily life, in order to have the mental fortitude to create masterpieces. It is logically, but that does not make it good advice. It is unlikely that I will ever, purposely follow this advice, because it is a bit unfeasible. Not to mention the author puts all greatness on the photographer for working great under crazy circumstances, however there is more to the equation than just that. For instance, there is a great story behind these pictures. Anything that powerful and emotional will create a strong response. I personally would have rather seen the photographs more personal of the crew, getting into their mental state, but that is just my personal opinion. I do not feel like this chapter helped me in creating my artist statement at all.
The Art of Making Art Without Lifting a Finger
The chapter, “The Art of Making Art without Lifting a Finger,” was a very interesting read. I must say that it was successful at modifying my views. It is all about life as art or art in other forms besides objects. It starts off talking about an artist named Ray Johnson, killed himself as his final art piece. This of course, did not sit right with me. I mean the guy took his own life and called it art. I think that is taking art too far, for sure. My initial reactions did change after continuing to read however. I was persuaded to see why it could be called art and also maybe a little bit as to why he would do it (based off of speculation from friends who actually really did not even know him). So I give kudos to the author for that. However, it still seems incredibly wrong to view someone’s death as art. Art is something that people enjoy, even if it is ugly or scary, we like it for whatever our reasons may be. To find pleasure out of this man killing himself seems wrong. I mean he thought a body floating in the water was beautiful, but if a person sees someone dead floating in the water they don’t stop and pause and say, “that is the most beautiful thing I ever saw,” they freak out. People don’t even reflect back on it and say that. So, although I understand the point, I think that is too extreme.
I also loved the dada movement that the author brings up when talking about Duchamp. Many people hate that Duchamp took a urine, signed it, and called it art. But I thought it was brilliant. He was making a statement, along with other dada artists of that time. There is a difference between a real artist who is making a statement and a fake artist who only does shocking things to get rich and famous. I felt like some of the artists that the author speaks of were some of the fake artists.
I also found the end half about Yoko Ono very interesting. I did not know much about her, besides that she married one of the Beatles and supposedly broke them up. I found her work to be very interesting. The way that she removed herself from the work seemed different to me than other artists who did like Warhol. It led me down a cognitional path of the meaning behind one removing themselves from their work. An artist who has something to say about feeling unimportant or forgot, maybe a bad childhood, etc could use a similar idea of removing themselves from the work because of those reasons and it could be very powerful. I also loved the idea of her piece called “cut piece” which was making a statement about feminism before feminism was really a concept. But the image of people cutting off her clothes as she lays there is very powerful.
Overall, I was happy that I read this because I felt like I learned interesting things. But more so, I felt like it expanding my mind as an artist. It gave me new ideas and changed some older ones to some degree.
I also loved the dada movement that the author brings up when talking about Duchamp. Many people hate that Duchamp took a urine, signed it, and called it art. But I thought it was brilliant. He was making a statement, along with other dada artists of that time. There is a difference between a real artist who is making a statement and a fake artist who only does shocking things to get rich and famous. I felt like some of the artists that the author speaks of were some of the fake artists.
I also found the end half about Yoko Ono very interesting. I did not know much about her, besides that she married one of the Beatles and supposedly broke them up. I found her work to be very interesting. The way that she removed herself from the work seemed different to me than other artists who did like Warhol. It led me down a cognitional path of the meaning behind one removing themselves from their work. An artist who has something to say about feeling unimportant or forgot, maybe a bad childhood, etc could use a similar idea of removing themselves from the work because of those reasons and it could be very powerful. I also loved the idea of her piece called “cut piece” which was making a statement about feminism before feminism was really a concept. But the image of people cutting off her clothes as she lays there is very powerful.
Overall, I was happy that I read this because I felt like I learned interesting things. But more so, I felt like it expanding my mind as an artist. It gave me new ideas and changed some older ones to some degree.
Monday, October 26, 2009
Project 3 Paper: Mark of Venus
Click to view full screen, from there you can zoom in further if needed.Mark of Venus
Monday, October 19, 2009
Response to pg. 123-136
How to Build Long-Term Professional Relationships
I found this section to be much more interesting than previous sections, because this gave me information on my future life as a practicing artist. The other sections did too, to a certain degree. But they were more about technicalities and paperwork than about what it really involves to be an artist. Of course, it was an entire chapter about how important connections are; the “your success is measured by who you know” aspect of the art world. But considering that I have complained about this before, I will put that issue aside this time.
Most of this information was completely new to me, therefore it was extremely educational and valuable to me. I was completely unaware that artists stick to a few main galleries and that those galleries invest so much into their artists. I am unsure how I feel about that situation. On one hand it seems great; they work hard for you, get your name out there and sell your work for you. However, on the other hand you lose the ability to have total say over your own artwork. I mean that, you may not be able to sell a piece of your own work because it would damage your relationship with the gallery. It also made reference to continually keeping the gallery updated on your works in progress. I don’t know that I like have to report my progress to someone, that seems an awful lot like having a boss.
The author also discussed other connections to be made, mainly with people who will sell your work. I wish that she explained in more detail how you work with multiple connects in multiple places and how that works. She discussed that you can not sell some works because it would hurt your relationship with your gallery, but what if you have 2 other galleries you work with, along with dealers and advisors?
It also seems some unpractical to have to get to know everyone you encounter in the art world, like every receptionist and so on. I realize that they could one day be a curator, but it doesn’t seem feasible to really meet and stay connected with everyone you encounter.
I found this section to be much more interesting than previous sections, because this gave me information on my future life as a practicing artist. The other sections did too, to a certain degree. But they were more about technicalities and paperwork than about what it really involves to be an artist. Of course, it was an entire chapter about how important connections are; the “your success is measured by who you know” aspect of the art world. But considering that I have complained about this before, I will put that issue aside this time.
Most of this information was completely new to me, therefore it was extremely educational and valuable to me. I was completely unaware that artists stick to a few main galleries and that those galleries invest so much into their artists. I am unsure how I feel about that situation. On one hand it seems great; they work hard for you, get your name out there and sell your work for you. However, on the other hand you lose the ability to have total say over your own artwork. I mean that, you may not be able to sell a piece of your own work because it would damage your relationship with the gallery. It also made reference to continually keeping the gallery updated on your works in progress. I don’t know that I like have to report my progress to someone, that seems an awful lot like having a boss.
The author also discussed other connections to be made, mainly with people who will sell your work. I wish that she explained in more detail how you work with multiple connects in multiple places and how that works. She discussed that you can not sell some works because it would hurt your relationship with your gallery, but what if you have 2 other galleries you work with, along with dealers and advisors?
It also seems some unpractical to have to get to know everyone you encounter in the art world, like every receptionist and so on. I realize that they could one day be a curator, but it doesn’t seem feasible to really meet and stay connected with everyone you encounter.
Response to pg. 61-69
Artist Résumé and Biography
It is becoming increasingly difficult to write responses to this book. This is because the author is explaining the proper way to be an artist. She speaks from experience, and she is only telling us what will help us in the future. So again, I have found this section very beneficial to read and I will no doubt be revisiting it when I make my own CV so that I only put in what is important and put everything is the correct order.
She doesn’t give too many opinions to argue with, just pretty much telling us if we want to survive as artists we should do these things well. So it leaves little room for our own opinions and arguments. However, I did (as usual) find something that bugged me.
“As you will see, these contacts and relationships are essential to your career development.” This statement irks me. It reminds me of how much the current art world annoys me. Art is about expression and comes from within. I do not need to know a bunch of people to be a good artist. However, to become a professional artist I have to have all these connections. I do agree that knowing different artists could help for future collaborations, but I do not feel that this career should be all about who you know (which it is). My frustration is not towards the author, for this is not the author’s fault. She is just telling us how to make it in this current art world, I just have issues with the way our current art world operates.
It is becoming increasingly difficult to write responses to this book. This is because the author is explaining the proper way to be an artist. She speaks from experience, and she is only telling us what will help us in the future. So again, I have found this section very beneficial to read and I will no doubt be revisiting it when I make my own CV so that I only put in what is important and put everything is the correct order.
She doesn’t give too many opinions to argue with, just pretty much telling us if we want to survive as artists we should do these things well. So it leaves little room for our own opinions and arguments. However, I did (as usual) find something that bugged me.
“As you will see, these contacts and relationships are essential to your career development.” This statement irks me. It reminds me of how much the current art world annoys me. Art is about expression and comes from within. I do not need to know a bunch of people to be a good artist. However, to become a professional artist I have to have all these connections. I do agree that knowing different artists could help for future collaborations, but I do not feel that this career should be all about who you know (which it is). My frustration is not towards the author, for this is not the author’s fault. She is just telling us how to make it in this current art world, I just have issues with the way our current art world operates.
Thursday, October 1, 2009
Artist Lecture
I went to see artist Sunkoo Yuh tonight at the visiting artist lecture that was sponsored by Lil Muddies. Sunkoo Yuh is a artist who primarily works with ceramics. I really enjoyed the lecture. Being a beginning ceramics student it was inspiring. I really loved his drip application of glazing, it really brought the faces to life. This was not an artist lecture in our syllabus, so unfortunately I didn't see any of my classmates, which is too bad because it was great. I had to miss class to go, but it was worth it. Here is a couple pictures of his works.
Saturday, September 26, 2009
Response to pg 46-61; Artist Statement
Once again, I found this reading to be extremely beneficial. I will certainly be referencing it again in the future. It looks like this will be a textbook that I will not be selling after this class is over. It just has too much information that I need to get rid of it.
For the most part I simply found it helpful. I definitely see why we need an artist statement and all of her pointers to a good statement seemed great. However, I know for a fact from other writing classes, that I am not a big planner for papers. I do not know if I like all the steps in her process and how long her process takes. Not that it is not a good process, but it just might not be the process for me, at least not all of it.
I also found it funny that she had a contradiction in this section. She brought up the point that your statement should not include phrases that could describe any other artist out there. But later she applauds an artist who shrunk his statement down to five words, “Revolutionary art propelling history forward.” I do happen to believe that this statement could represent other artists, so in turn this should not be a good statement.
I also really like it when viewers see the art and make their own interpretations first, and then if they want to know more they can. Maybe the statement should be reserved at showings until after the first trip around the gallery. What if every piece has a different significance that you want the audience to know? If you write a short artist statement, that is a broad description of the collection as a whole, but not individual pieces. How is the artist to express the little significances in each work?
For the most part I simply found it helpful. I definitely see why we need an artist statement and all of her pointers to a good statement seemed great. However, I know for a fact from other writing classes, that I am not a big planner for papers. I do not know if I like all the steps in her process and how long her process takes. Not that it is not a good process, but it just might not be the process for me, at least not all of it.
I also found it funny that she had a contradiction in this section. She brought up the point that your statement should not include phrases that could describe any other artist out there. But later she applauds an artist who shrunk his statement down to five words, “Revolutionary art propelling history forward.” I do happen to believe that this statement could represent other artists, so in turn this should not be a good statement.
I also really like it when viewers see the art and make their own interpretations first, and then if they want to know more they can. Maybe the statement should be reserved at showings until after the first trip around the gallery. What if every piece has a different significance that you want the audience to know? If you write a short artist statement, that is a broad description of the collection as a whole, but not individual pieces. How is the artist to express the little significances in each work?
Project Two
Project two was a short project, just one week long. It was titled "Discovery". The only constraint we had was that it had to be a project that took the class on a short walk and we were suppose represent discovery in some way. This meant that this was a performance/installation piece for the most part.
I did not snap my own pictures during the performance because I was without a camera. And I had to rush to take it down. After I had started taking it apart I realized that I could take some candid pics with my cell phone. Nothing great of course, but enough to help give an idea of what my project was. Hopefully, my teacher, who did take photos during the performance can email me the pictures and I can add them.
I made the class line up and follow me, like in the game follow the leader. This represented when we are constrained to do what we are told and we do not really make any discoveries. It is a lot like being in school, except for art school of course. Then I stopped behind a wall. In front of us there was an opening to the courtyard and a sign could be read that said "Discovery Lane". From here, things were done one by one. The first person in line had to put on a pair of goggles that restricted vision. The goggles were spray painted black except for a tiny hole in each lens. This represented that when we are on a path to discovery, we do not always have a clear vision of the path ahead of us, though we may have a end goal or purpose we are heading for. In this case, the viewer was told that they were going down Discovery Lane and at the end of it they would find two boxes and they would have to reach into only one and find their discovery. The boxes represented two possible outcomes of discovery, good and bad. One box had candy (good), and the other box had slimy noodles, dirty rocks, and rubber rats (bad). They could not see what was in the boxes of course, there was only a small hole for their hand to reach in and there was a sleeve to make sure they could not see what they were reaching into. The boxes were set on chairs so they were easy to reach in and they were seperated by a medium sized tree with a sign telling them what to do. It was critical that the group waited behind the wall until it was their turn, so that they did not see what the other viewers were getting when they reached into the boxes.
I was very happy with the way it turned out. I am only sad that not everyone had a chance to experience it, because of time constraints and that I did not get my own pictures of it while it was installed.
I did not snap my own pictures during the performance because I was without a camera. And I had to rush to take it down. After I had started taking it apart I realized that I could take some candid pics with my cell phone. Nothing great of course, but enough to help give an idea of what my project was. Hopefully, my teacher, who did take photos during the performance can email me the pictures and I can add them.
I made the class line up and follow me, like in the game follow the leader. This represented when we are constrained to do what we are told and we do not really make any discoveries. It is a lot like being in school, except for art school of course. Then I stopped behind a wall. In front of us there was an opening to the courtyard and a sign could be read that said "Discovery Lane". From here, things were done one by one. The first person in line had to put on a pair of goggles that restricted vision. The goggles were spray painted black except for a tiny hole in each lens. This represented that when we are on a path to discovery, we do not always have a clear vision of the path ahead of us, though we may have a end goal or purpose we are heading for. In this case, the viewer was told that they were going down Discovery Lane and at the end of it they would find two boxes and they would have to reach into only one and find their discovery. The boxes represented two possible outcomes of discovery, good and bad. One box had candy (good), and the other box had slimy noodles, dirty rocks, and rubber rats (bad). They could not see what was in the boxes of course, there was only a small hole for their hand to reach in and there was a sleeve to make sure they could not see what they were reaching into. The boxes were set on chairs so they were easy to reach in and they were seperated by a medium sized tree with a sign telling them what to do. It was critical that the group waited behind the wall until it was their turn, so that they did not see what the other viewers were getting when they reached into the boxes.
I was very happy with the way it turned out. I am only sad that not everyone had a chance to experience it, because of time constraints and that I did not get my own pictures of it while it was installed.
Response to pg 24-46; Work Samples
I have two opposing feelings about this reading. On the one hand I am happy and appreciative to this author. I feel like it truly is valuable information that I need as an artist. I feel like I have learned a lot, and will use this again as a reference. But, on the other hand, it disturbs and frustrates me beyond belief. I hate what the art world has become. Art is about creativity and expression. And I feel like the tedious tasks that are required of artists hinder that. I don’t want to have to be so confined, and have to do everything the way I’m suppose to. Art is suppose to have no rules, but to BE an artist your life is governed by rules. Not only in how you make work samples, but who you know, what you do, where you show, etc.
This piece did bring to my attention that most viewers will not see my artwork in person and that is why it is important to represent your work well, and I agree will that completely. I just dislike all the other rules like what you have to say and where to put information. I also think that not all artwork is suppose to have a description. Some artwork is meant to be whatever the viewer takes from it. I do tend to love art that I know what the artist was thinking and wanted to represent more so than art that is open to interpretation, but that doesn’t mean that all art has to be described.
I do think that I am at a slight advantage with photography as my main focus. For my photographic work, I do not have to shoot a picture of my work, because my work in a picture. And even though I shoot in film, I always scan my negatives to work on them in Photoshop, so I have digital copies. Also, having skills in photography will help me document my pieces that are not photographs. Although, I am not trained in lighting studio type shooting yet, I still know how to work a camera and in time I will be trained in all the aspects I will need to document my own work.
I also feel like, though it is good practice to document my work now, most artists do not display their artwork made while an undergrad. Probably because they know that they only have so much time to make a good impression on viewers who do not see their work in person. To have artwork out there that they made while training as an artist may make the artist look unskilled. So the fact that we have to do this could hinder us in our future careers.
This piece did bring to my attention that most viewers will not see my artwork in person and that is why it is important to represent your work well, and I agree will that completely. I just dislike all the other rules like what you have to say and where to put information. I also think that not all artwork is suppose to have a description. Some artwork is meant to be whatever the viewer takes from it. I do tend to love art that I know what the artist was thinking and wanted to represent more so than art that is open to interpretation, but that doesn’t mean that all art has to be described.
I do think that I am at a slight advantage with photography as my main focus. For my photographic work, I do not have to shoot a picture of my work, because my work in a picture. And even though I shoot in film, I always scan my negatives to work on them in Photoshop, so I have digital copies. Also, having skills in photography will help me document my pieces that are not photographs. Although, I am not trained in lighting studio type shooting yet, I still know how to work a camera and in time I will be trained in all the aspects I will need to document my own work.
I also feel like, though it is good practice to document my work now, most artists do not display their artwork made while an undergrad. Probably because they know that they only have so much time to make a good impression on viewers who do not see their work in person. To have artwork out there that they made while training as an artist may make the artist look unskilled. So the fact that we have to do this could hinder us in our future careers.
Project One
Project one was titled "The Metamorphosis". As the title implies we changed something, a found object. But not only did we have to change that object in the physical since, but it had to represent change. Although, some students didn't really change a found object, but instead created a new one from standard supplies.
I created my object out of old clocks and clock parts. For this project, I decided to look to myself, and see how I've changed through out time. One thing that stood out to me, was my desire to have children. I always knew I wanted children, but until recently I did not want them at that moment in time. This really has just come about within the last year. I had always planned that I would be done with college and married by 22-23, and I would have my first child by at least 25. Just last month I turned 25 and I am still in school with no children. I am married, and have been for over 2 years. I think not only is this an internal need, but it is also a natural progression after being married a couple years. So my biological clock is tick, tick, ticking.
My object was mainly composed of a med/large sized table/desk clock that had a large hollow interior. I busted the back off, and turned that into a miniature nursery. In the nursery there was a crib, mobile, rocking chair, teddy bear, baby girl, and a nonworking clock on the back wall, all made of clock parts. The clock on the back wall was set at time 10:25, 10 representing by birth (born on Aug. 10Th), and 25 representing my current age and need for a baby now. 25 is the age when my biological clock started ticking. The exterior still had a working clock, tick, tick, ticking away. I painted it green and put fake plant on it to represent that it was not a normal clock, but a biological one. In retrospect, I wish that I would have used real plants, because the fake ones may have distracted from it and cheapened it a little.
All in all, I think it was a successful project and I am happy with it. I espcially love the crib and teddy bear.
I created my object out of old clocks and clock parts. For this project, I decided to look to myself, and see how I've changed through out time. One thing that stood out to me, was my desire to have children. I always knew I wanted children, but until recently I did not want them at that moment in time. This really has just come about within the last year. I had always planned that I would be done with college and married by 22-23, and I would have my first child by at least 25. Just last month I turned 25 and I am still in school with no children. I am married, and have been for over 2 years. I think not only is this an internal need, but it is also a natural progression after being married a couple years. So my biological clock is tick, tick, ticking.
My object was mainly composed of a med/large sized table/desk clock that had a large hollow interior. I busted the back off, and turned that into a miniature nursery. In the nursery there was a crib, mobile, rocking chair, teddy bear, baby girl, and a nonworking clock on the back wall, all made of clock parts. The clock on the back wall was set at time 10:25, 10 representing by birth (born on Aug. 10Th), and 25 representing my current age and need for a baby now. 25 is the age when my biological clock started ticking. The exterior still had a working clock, tick, tick, ticking away. I painted it green and put fake plant on it to represent that it was not a normal clock, but a biological one. In retrospect, I wish that I would have used real plants, because the fake ones may have distracted from it and cheapened it a little.
All in all, I think it was a successful project and I am happy with it. I espcially love the crib and teddy bear.
Obituary
Here is my obituary. I waited to post it because I was unsure about how the blogs worked. I am not sure if I am completely happy with this, though. If I become a very successful artist I don't know if I would continue teaching. I say this because I imagine how wonderful it would be to only have to work on my artwork for a job and nothing else. I think that would be the ulimate dream. However, I do imagine myself as a teacher as well... just maybe not for a lifetime career. And of course if I become a uber famous artist then there will be a much longer, detailed obituary for me =)
Amy Royale Stringham died Friday evening on April 20th, 2080. She was 95 years old. She left behind 3 daughters and 2 sons, along with 10 grandchildren. Amy led an extraordinary life. She had a late start, but soon into her 30s her career took off. She taught high school after receiving a bachelor degree in Psychology and in Fine Arts from the University of South Florida. During that time she completed her MFA in 2016 from [to be filled in later].
Amy had already had 3 children when she received her MFA and took time off after that to spend time with her family, which is when she had her other 2 children. She put on several shows with other artists in her area, and her photographs and art collections grew in popularity. Amy won several awards for her [to be filled in later] exhibition and began teaching at [prestigious university to be filled in later].
Amy went on to being one of the highest paid female artists in the United States, along with winning many awards, and being named a distinguished professor at [prestigious university to be filled in later]. Amy gave up teaching and she and her husband opened their own art gallery and a small community school of the arts. Amy continued making art and helping others with their art until she finally passed away Friday.
Amy Royale Stringham died Friday evening on April 20th, 2080. She was 95 years old. She left behind 3 daughters and 2 sons, along with 10 grandchildren. Amy led an extraordinary life. She had a late start, but soon into her 30s her career took off. She taught high school after receiving a bachelor degree in Psychology and in Fine Arts from the University of South Florida. During that time she completed her MFA in 2016 from [to be filled in later].
Amy had already had 3 children when she received her MFA and took time off after that to spend time with her family, which is when she had her other 2 children. She put on several shows with other artists in her area, and her photographs and art collections grew in popularity. Amy won several awards for her [to be filled in later] exhibition and began teaching at [prestigious university to be filled in later].
Amy went on to being one of the highest paid female artists in the United States, along with winning many awards, and being named a distinguished professor at [prestigious university to be filled in later]. Amy gave up teaching and she and her husband opened their own art gallery and a small community school of the arts. Amy continued making art and helping others with their art until she finally passed away Friday.
My 20 Artists Post Below
So since I was out sick when everyone exchanged artists, I don't have a list of people I gave my artists to. But for future projects I have posted all of my artist cards with images, in a powerpoint presentation below. My 20 artists were:
Martha Rosler
Jon Rubin
Alison Saar
Betye Saar
Tom Sachs
Jenny Saville
Julia Scher
Carolee Schneemann
Josef Schulz
Dana Schutz
Beverly Semmes
Richard Serra
Roger Shimomura
Roman Signer
Ross Sinclair
Shahzia Skander
Charles Simonds
SIMPARCH
Alexis Smith
Kiki Smith
Martha Rosler
Jon Rubin
Alison Saar
Betye Saar
Tom Sachs
Jenny Saville
Julia Scher
Carolee Schneemann
Josef Schulz
Dana Schutz
Beverly Semmes
Richard Serra
Roger Shimomura
Roman Signer
Ross Sinclair
Shahzia Skander
Charles Simonds
SIMPARCH
Alexis Smith
Kiki Smith
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