Christine shot some new-ish work today in exchange for modelling. Neat-o Pete-o!
In other news, a month and two days until I graduate.
I haven't done any work in two weeks and I feel testy, or something strange. I've fallen out of my routine, in my diet (haven't cooked/eaten healthy since Spring Break/taken vitamins) and art making. This wonkiness is getting to me though, I need to do something about it other than typing/whining ( not very productive).
Monday, 29 March 2010
Wednesday, 17 March 2010
Ohhh, Gaaawwwgiaaa
I went to the High Museum in Atlanta. It was pretty fabulous (that being an understatement). I'm a smitten kitten - hello huge Anselm Kiefer, you make me die inside in a good way, like I am just a star in that big ol' nebulus painting of yours, a part of the ebb and flow of life and death, why thank you for connecting me to all of humanity and nature and the universe at large! That is nice indeed.
Ry and I also drove by the Frist in Nashville, but didn't have enough time to visit it (however, I like that admission was reasonable and that on their website they encouraged casual attire, citing the Frist as "an informal place" - friendly art is good art!). More on the High later, I'm about to hop on the road again, this time south, just a quick jaunt to the Seeback household. But I wanted to say, many things have been a'brewing and a'making and a'thinking, and that computer negligance is not life negligance, if anything probably the opposite!
Ry and I also drove by the Frist in Nashville, but didn't have enough time to visit it (however, I like that admission was reasonable and that on their website they encouraged casual attire, citing the Frist as "an informal place" - friendly art is good art!). More on the High later, I'm about to hop on the road again, this time south, just a quick jaunt to the Seeback household. But I wanted to say, many things have been a'brewing and a'making and a'thinking, and that computer negligance is not life negligance, if anything probably the opposite!
Thursday, 4 March 2010
This Week
Lindsay Lohan's arm manifests itself in a dream? Jokes, but WHAT is that wretched orange color, Holy Velveeta that's got to go soon.
Fare thee well and thank you in advance present in the works for my roommate, Nordic Princess Extraordinaire, who is to watch my cat son while I am putzing around the Pacific Northwest and France, that sweetheart. Modeled after a collage I did of Daisy and Duke years ago as dapper little creatures from the Roaring '20s.. Yeah. Cat lady status. So it goes!
Random chaotic entropy. Holler at Gorky and Miro!
Don't mind my hot mess of a room, but here's the big piece I'm working on that I've started to nitpick over already, hm. I mean, I'm loose with it, but the weensy parts I've already started with the nagging and killing the organic feeling of it. I think I'm going to go in with ink and then perhaps some spray praint and stencils once the paint dries. Maybe, baby. Maybe not!
Stick to Your Guns
(Image from his website, check it)
Saw Jonathon Lux's show down at the Crisp Ellert Art Museum at Flagler College last week (which was a nice space, bee tee dubs). His narratives, they make me curious. And frisky. Curiousky. Very much so painted in 'the Grand manner'.. made me think of 'The Death of General Wolfe', a la Benjamin West:
Heroicized? Romanticized? Sexualized?
He had multiple canvasses framed together presented as a single piece. I enjoyed this, the implied mobility, interchangeable plotline, possible inconsistencies with perspective, yet feel some worked far better aesthetically than others. It was jarring at times. Don't get me wrong, I'm all for juxtaposition, but some felt haphazard. The strongest pieces had a flow, a marriage of content and composition.
Also, his use of children - very interesting. They weren't merely children, I felt, but rather symbols - of the impish nature that is innate to us all? Of the potential for malevolence as well as lighthearted play?
His brushwork was gooorrrrgeous. Heavy and violent, but then nice and washy. Hm. I picked up the little pamphlet but didn't read it, I was too overpowered by the work itself. So, no insight onto what he has to say about his own work, just my thoughts on the work itself.
Wednesday, 3 March 2010
Angryface slash I'm an idiot dot com
Life lesson - back errything up (!)
My jump drive is MIA.
My jump drive that has the first dream imagery I ever worked with, way back in a Digital Imaging class with Alex Diaz.
My jump drive with all the copywork Logan did for our class last semester.
My jump drive with some self portraits I shot in the empty room of my first apartment with all that nice forest filtered light that can't be recreated.
COOL LAURA... I'm awfully mad at myself for being careless, and sad that those digital files are gone forever. Maybe it will turn up, but I've ransacked my room looking for it to no avail. Oh my.
My jump drive is MIA.
My jump drive that has the first dream imagery I ever worked with, way back in a Digital Imaging class with Alex Diaz.
My jump drive with all the copywork Logan did for our class last semester.
My jump drive with some self portraits I shot in the empty room of my first apartment with all that nice forest filtered light that can't be recreated.
COOL LAURA... I'm awfully mad at myself for being careless, and sad that those digital files are gone forever. Maybe it will turn up, but I've ransacked my room looking for it to no avail. Oh my.
Tuesday, 2 March 2010
"Etched Ostrich Eggs Illustrate Human Sophistication"
An interesting story on BBC's home page today about recent discoveries concerning ostrich egg fragments and the importance of art and symbolism in human culture. "Symbolic thought - the ability to let one thing represent another - was a giant leap in human evolution, and sets our species apart from the rest of the animal world"; the article goes on to say that the egg fragments, which are 60,000 years old and were found in South Africa, are significant because of the large amount discovered there ("close to 300 pieces") and that they are trying to decipher what seems to be a "system of symbolic representation" (all quotations from Jonathon Amos' article published today on BBC!)
The Mondayiest Tueday Ever/("The Unexplained Automatically Becomes Holy")
I feel whiny today, apologies if everything is written in the tone of a petulant child... I have pictures of a few paintings that I've been working on slash am (concerned by? involved with? interested in?) that I convinced myself to skip school today to work on. The convincing wasn't really that hard though, I'm knee deep in a case of senioritus. Slothy slothy. Anyhow, I have something else to talk about since Plan A didn't work, thanks Blogger, and that is Dan Estabrook's lecture at MOCA that I attended last Thursday.
Estabrook Lecture
I found him to be very wellspoken and easy to listen to. He studied under Christopher James (who paints and does alternative photographic processes.. his writings are interesting/comical, too, I read a bit of what he has up online, hah, and sections of his book he has on alt processes at Dave's once or twice, he's the go to guy and has a nice mustache to boot) and had a strong base in printmaking, painting and drawing. I think Estabrook's background is apparent in his work and I would even venture to say necessary.. everything is interwoven despite the broader category of photography that he falls under... that is one of the critiques I have of UNF's art departments, the separation between media, especially photo students and the tendency to disregard 'needing' basic drawing/painting/ceramics/print/what have you classes, a BFA is a beef-uh, no? I've never taken a sculpture class, which I think is kind of ridiculous and painty-elitist of me, and I feel a lot of the things I do, especially collage with found objects and images could work well as 3D, but I digress.. Estabrook showed some of his early work, baptism/death portraits that inspire him, different processes and recent work. His underlying theme of duality was present throughout the whole lecture and I appreciated his discussion of it, as I felt it when first viewing his work even in his manner of presentation - duality in the itsy bitsy little baby portraits, their white flowing dress equating life or death; the past and his referencing of history juxtaposed with the present, a creating of dialogue in the now; the relation of decay and change (in self, of an object, how these are viewed?). He said a few things that are still ringing in my ears that I'm going to plop down here to make sure they don't disappear in my notebook forever: "I had started to build a language, but I didn't know what I was saying... [the] imagery built over time.. worked intuitively"; circular logic, "what I do is fundamentally absurd"; art (photography) as "a fiction we're both agreeing to believe in.. the artist as a magician.. the fakery... mutual suspension of disbelief"; "a destructive act helps you understand". He also said he can't be "a purist about any of it", which makes me feel nice and less obligated to stay 'true' to one medium. So, that was pretty encouraging. Anyhow, he was great, it was a varied audience which was kind of surprising, actually. Anyhow, I feel that I learned a lot from what he had to say and that his work is, as I mentioned earlier when I saw his work with B. Grimm at Artwalk a bit ago, is quietly intriguing.
Estabrook Lecture
I found him to be very wellspoken and easy to listen to. He studied under Christopher James (who paints and does alternative photographic processes.. his writings are interesting/comical, too, I read a bit of what he has up online, hah, and sections of his book he has on alt processes at Dave's once or twice, he's the go to guy and has a nice mustache to boot) and had a strong base in printmaking, painting and drawing. I think Estabrook's background is apparent in his work and I would even venture to say necessary.. everything is interwoven despite the broader category of photography that he falls under... that is one of the critiques I have of UNF's art departments, the separation between media, especially photo students and the tendency to disregard 'needing' basic drawing/painting/ceramics/print/what have you classes, a BFA is a beef-uh, no? I've never taken a sculpture class, which I think is kind of ridiculous and painty-elitist of me, and I feel a lot of the things I do, especially collage with found objects and images could work well as 3D, but I digress.. Estabrook showed some of his early work, baptism/death portraits that inspire him, different processes and recent work. His underlying theme of duality was present throughout the whole lecture and I appreciated his discussion of it, as I felt it when first viewing his work even in his manner of presentation - duality in the itsy bitsy little baby portraits, their white flowing dress equating life or death; the past and his referencing of history juxtaposed with the present, a creating of dialogue in the now; the relation of decay and change (in self, of an object, how these are viewed?). He said a few things that are still ringing in my ears that I'm going to plop down here to make sure they don't disappear in my notebook forever: "I had started to build a language, but I didn't know what I was saying... [the] imagery built over time.. worked intuitively"; circular logic, "what I do is fundamentally absurd"; art (photography) as "a fiction we're both agreeing to believe in.. the artist as a magician.. the fakery... mutual suspension of disbelief"; "a destructive act helps you understand". He also said he can't be "a purist about any of it", which makes me feel nice and less obligated to stay 'true' to one medium. So, that was pretty encouraging. Anyhow, he was great, it was a varied audience which was kind of surprising, actually. Anyhow, I feel that I learned a lot from what he had to say and that his work is, as I mentioned earlier when I saw his work with B. Grimm at Artwalk a bit ago, is quietly intriguing.
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