December18th, 2010
1. Epiphanies?
Yes, art can be anything. Art can be fun. Art can be accessible. Art can be a collage of mediums.
2. Goals?
Personally, I am on a road of discovery with Politics and women in art. Change is needed.
Check out:
The Feminist Evolution
Saturday, December 18, 2010
Monday, December 13, 2010
Lecture at the MoMA
December 11th, 2010
Today our class had the pleasure of engaging in a fundamental and philosophical conversation with the director of Adult and Academic programs of MoMa: Pablo Helguera. He presented his lecture in a private area, in which museum employees hold conferences. The space felt small, intimate and confidential. He started by asking our class, "What is art?" It seems that the more involved with art one becomes the less that question arises. Why would it, if we can reference artists in conversation and identify works of art from various time periods? Well when the big question was asked, the room was silent for about thirty seconds but felt like a lifetime.
This question is subjective and can be attacked from various angles. However, I feel that the most important aspect of the question is not to answer it but to engage in a conversation around it. The conversation began when Mr. Helguera showed a abstract painting and asked if it was art. All of us in the room agreed and he proceeded to explain how this painting won first prize in a juried art exhibit. The next slide contained the painting next to a photograph of a four year old child who painted the work. The child's mother had entered the painting as a joke and it won first place. After the judges found out that child had created the painting they revoked their decision. Mr. Helguera asked, "do you still think the painting is art?"
That was the beginning of a two hour conversation that could have lasted all afternoon. Even though we never came to a conclusion it was important to have that conversation. We debated issues with aesthetics, ownership, and conceptual aspects of art. I don't think anyone could actually come to a conclusion but it raised interesting issues dealing with art.
The creator's intention versus our interpretation has been an ongoing component in the history of what is defined as art. For example: weapons, artifacts, pottery and furniture that have been found, preserved and placed on display at a museum is now seen as art. We see it as an art because the objects are documents of history, time and culture. We cannot go back in time, therefore we must rely on evidence and make our own narratives about the past. Museums, in my opinion, created the idea of art. Museums are the attics that we roam and often visit to appreciate the human experience. It is almost safe to say that the definition of "art" evolves with us, politically, socially and technologically.
Today our class had the pleasure of engaging in a fundamental and philosophical conversation with the director of Adult and Academic programs of MoMa: Pablo Helguera. He presented his lecture in a private area, in which museum employees hold conferences. The space felt small, intimate and confidential. He started by asking our class, "What is art?" It seems that the more involved with art one becomes the less that question arises. Why would it, if we can reference artists in conversation and identify works of art from various time periods? Well when the big question was asked, the room was silent for about thirty seconds but felt like a lifetime.
This question is subjective and can be attacked from various angles. However, I feel that the most important aspect of the question is not to answer it but to engage in a conversation around it. The conversation began when Mr. Helguera showed a abstract painting and asked if it was art. All of us in the room agreed and he proceeded to explain how this painting won first prize in a juried art exhibit. The next slide contained the painting next to a photograph of a four year old child who painted the work. The child's mother had entered the painting as a joke and it won first place. After the judges found out that child had created the painting they revoked their decision. Mr. Helguera asked, "do you still think the painting is art?"
That was the beginning of a two hour conversation that could have lasted all afternoon. Even though we never came to a conclusion it was important to have that conversation. We debated issues with aesthetics, ownership, and conceptual aspects of art. I don't think anyone could actually come to a conclusion but it raised interesting issues dealing with art.
The creator's intention versus our interpretation has been an ongoing component in the history of what is defined as art. For example: weapons, artifacts, pottery and furniture that have been found, preserved and placed on display at a museum is now seen as art. We see it as an art because the objects are documents of history, time and culture. We cannot go back in time, therefore we must rely on evidence and make our own narratives about the past. Museums, in my opinion, created the idea of art. Museums are the attics that we roam and often visit to appreciate the human experience. It is almost safe to say that the definition of "art" evolves with us, politically, socially and technologically.
Hundreds of years from now, if this planet is still here, who knows what the future generations will consider as art.
It is the evidence we leave behind.
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| Through the secret doors of the Elevators.... |
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| Class lesson on Museum Tags |
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| James Ensor at the MoMA! |
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| Allora & Calzadilla s Eviscerated Piano Plays MoMA |
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| "Envision Spring" from Yoko Ono's Instruction Pieces |
Sunday, December 5, 2010
Welcome to the Upper East Side Galleries
Before the shit hits the fan, here is a list of the galleries that we visited:
It almost feels like the art world has not evolved thanks to the U.E.S. galleries. Everything is expensive and smells like death. The art works were situated in galleries that resembled the homes of the rich and old.
As if these galleries are not already intimidating, some of them had to buzz you in, and they pretend to be open to the public. Yet they're hidden and their main focus is to sell. I kept having to remind myself that these artworks have a specific audience:
1. An audience that claims to have good, high, or fine taste in art.
2. An audience that appreciates craft over concept.
3. An audience that plays it safe and perversely and uncomfortably affects the rest of the art world.
4. Oh and.....a very small audience who have a shit load of money to throw away.
I cannot help but think that art is a reflection of society and culture. And when these people die and these art works are then moved around the world, continue to be invested in or auctioned off, what is left to say about our society? What about the artist? Does anyone care about what the artist wanted?
However, it seems there is no goal for that kind of art, other than to play the game of desire. These works provoke d e s i r e for those who can afford it.
I refuse to believe that any of this craft is worth more than concept.
But then, should I even care? As an artist in this present time, a latina - young- woman and mother, should it bother me that these few people are willing to spend vasts amounts of money on what they claim to be as "high" art.
Knowing that the huge investments in the art world are being placed on works that play a decorative role in "higher" society.....affects how other artists price their work and survive just so that CAN continue to make work.
The AMAZING and most POSITIVE outcome of this trip was knowing that in the end, art should be accessible to the public. Art that is successful should be able to reach and affect the masses ( hopefully in a positive way ), regardless of income.
I also wonder, if women artists are making nearly as much money as male artists, especially in the upper east side....only through research will I able to know the answer.
It almost feels like the art world has not evolved thanks to the U.E.S. galleries. Everything is expensive and smells like death. The art works were situated in galleries that resembled the homes of the rich and old.
So why not spend hundreds of thousands of dollars on a piece that is showing across the street?
It will look lovely above your fire place.
As if these galleries are not already intimidating, some of them had to buzz you in, and they pretend to be open to the public. Yet they're hidden and their main focus is to sell. I kept having to remind myself that these artworks have a specific audience:
1. An audience that claims to have good, high, or fine taste in art.
2. An audience that appreciates craft over concept.
3. An audience that plays it safe and perversely and uncomfortably affects the rest of the art world.
4. Oh and.....a very small audience who have a shit load of money to throw away.
I cannot help but think that art is a reflection of society and culture. And when these people die and these art works are then moved around the world, continue to be invested in or auctioned off, what is left to say about our society? What about the artist? Does anyone care about what the artist wanted?
Maybe it is a little exciting that the art we make, lives a life of travel that we may never experience alive.
However, it seems there is no goal for that kind of art, other than to play the game of desire. These works provoke d e s i r e for those who can afford it.
I refuse to believe that any of this craft is worth more than concept.
But then, should I even care? As an artist in this present time, a latina - young- woman and mother, should it bother me that these few people are willing to spend vasts amounts of money on what they claim to be as "high" art.
Yes, it bothers me.
John Currin can SUCK IT, he paints porn sooooooooo beautifully on canvas.
The only respect for him that I have is this:
Thank you for playing the game so well and milking these bastards. You've only further exploited all the flaws in societal views on gender and sex.
Thank you, thank you, thank you.
Knowing that the huge investments in the art world are being placed on works that play a decorative role in "higher" society.....affects how other artists price their work and survive just so that CAN continue to make work.
The AMAZING and most POSITIVE outcome of this trip was knowing that in the end, art should be accessible to the public. Art that is successful should be able to reach and affect the masses ( hopefully in a positive way ), regardless of income.
I also wonder, if women artists are making nearly as much money as male artists, especially in the upper east side....only through research will I able to know the answer.
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| Enoc Perez at Acquavella |
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| John Currin at Gagosian |
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| Judith Bernstein at Alex Zachary |
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| Judith Bernstein |
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| Judith Bernstein |
Sunday, November 21, 2010
D.U.M.B.O
Where are the WOMEN?
Our class first met at Smack Mellon and had the pleasure of viewing work by Charlotte Schulz and eteam's Gallery Cruise. Both artists explore time and space, while also questioning the real and the imagined through an installation piece and drawings. We then headed to A.I.R Gallery and Central Booking NYC .
But seriously: WHERE ARE ALL THE WOMEN?
Statistics show that around 60% to 70% of students in art schools are women. However when looking at the percentage of women in high curatorial, and museum board positions, along with gallery representation the number plummets to around 13% women...............
Is there a Dr. Claw somewhere running the show and preventing women from being heard?
Highly doubtful and thankfully there are galleries like A.I.R whose mission is to specifically represent and show work from women artists. The gallery was created in response to the lack of space dedicated to women artists in the late 1960's.
However it would appear that there is still an issue with major galleries exhibiting works created by women. Though there has been powerful and productive strides towards this issue it is still far from being resolved.
For instance check out Brain Stormers Report and look at their top offenders list of 2010.
By the way:
Central Booking was AWESOME. Another organization run by a female, Maddy Rosenberg, that has a dual function within one space; the first "Devoted to all aspects of the medium of artist’s books, where all the work is on view, accessible and for sale" and the second "showcase an unusually broad variety of genres in a series of explorations of where art meets science."
Despite the heated discussion, our class had a lovely time with Anna Kunz. She is currently one of the artists at the The Marie Walsh Sharpe Art Foundation. Combining sculpture, painting, drawing and performance, Anna Kunz is nothing short of extraordinary. She really embraces performance and uses it through other tools, even when she paints. Her studio felt like one big interactive and organic painting. On one wall she had, what seemed like, the finger print of a wall painting. She had used a very thin layer of material that was large enough to cover an entire wall in her studio, and as a result would end up with two very separate things:
1. The remnants of a painting left on a wall. In essence, as if she were saying here is proof that an artist was here painting, here is proof that some artists are still painting.
2. The actual material she painted on, in which she used as a sculpture or installation or even hung over a window to let light shine through.
Personally, I have become very moved by her story. She left her family in Chicago to take advantage of being granted a studio in the Marie Walsh Sharpe Art Foundation. She keeps images of her family around her studio and I have always wondered, how do women balance making art, surviving, being a woman....and....raising children? Organization and sacrifice is a must. To what extent however?
I just HAD to ask Anna about her life as a mother. And in her eyes I could see that it truly pains her to have left her family. Yes, being granted a studio in this building is amazing. The foundation was started by a woman who had the money to invest in artists, which was one of the topics that were discussed earlier in the day. The amount of women who run Fortune 500 companies is perhaps 10%. Could this be part of the reason as to why less women are being represented in galleries and museums? What about the media? In Anna's case, she made the sacrifice and we all know it was worth it. Besides, her daughter should be very proud of her mother, she may be too young to understand now, but if my own mother took a risk to shake the art world as Anna has done, I would be forever proud and inspired to follow my own dreams.
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| Charlotte Schulz |
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| Smack Mellon |
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| Gallery Cruise at Smack Mellon |
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| Joan Ryan |
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| Sylvia Netzer at A.I.R. |
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| Fin |
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| Thank you for the Hot Cocoa Professor T!!! |
Monday, November 15, 2010
Mia Pearlman + Caitlin Masley
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| Caitlin Masley, Mia Pearlman and Dannielle Tegeder |
Our class was very lucky to have Mia Pearlman and Caitlin Masley as our guest speakers on our first trip into
Brooklyn. They both share a studio in Gowanus.While I'd rather not get into detail about their art specifically, I'd like to express and share how these two women removed all the fluff that comes with being a successful
artist.
Mia Pearlman is best known for her current explorations in paper and glass sculptures. While Caitlin Masley
is known for her interest in architecture and the urban landscape.
Mia was recently invited to the 20x24 Studio to experiment with large format instant Polaroids. Which I foundmost interesting because she is not a photographer but was able to use this process and still have it connect
with everything that she has been doing. In essence she would photograph her own work or things that inspireher work, such as images of tsunami waves, and then use each layer of the Polaroid by cutting
through and mimicking shapes that were already photographed. By being able to play with the large format
Polaroids, Mia was able to branch out to another medium where now color is being introduced to her paper
sculptures.
* Mia did mention that as artists, we have a tendency to continue making work that people expect us to. She warned that it could happen and it seemed like she did not want to be known as just a "paper artist." This
is something that happens often, yet this is how people remember us, so if they are ever interested and decide to keep up with what we are making, this should give us artists the freedom to branch out.
Note: In the past semester, Spring 2010, some of us had the pleasure of seeing Mia's work in the Museum of Art and Design. It was nice to finally see her work outside of the context of a museum and in her actual studio.
Mia was super professional throughout her talk. She brought up some very good points to keep in mind, for
those of who wish to pursue the life of a professional artist. She mentioned organization. When in
process of making work, she admits working intuitively, however we did notice an entire wall dedicated to all the things that inspire her, a desk and filing cabinets. Because she spends a considerable amount of time
having to email people, writing grants, statements, thank you letters, etc; she mentioned having to be organizedover and over again. Just imagine, her paper sculptures are up against the environment and she installs them
according to the space that is given to her, which I think is super brave. In those moments of drawing the
shapes on the paper, cutting, and installing are really the only moments of freedom she has with her pieces.
She cannot risk that freedom or intuition without being organized.
There will always be structure in chaos.
Caitlin had to be the most raw, truthful, and practical artist I have ever heard speak. We didn't have much time left in class to talk about her work, other than her being heavily influenced by her father's travel video. She brought up the idea of networking. She basically said, you must put yourself out there and talk to anyone and everyone, no matter what they may think of you because you never know what that may lead to. She also
broke down her day for us, which involved short amounts of time in the studio while her toddler was in day
care, and did I mention she is pregnant with her second child?
Time: the one thing we wish we had more of. If you have it, use it well.
Discussions on the Gowanus Bridge
November 13th 2010
After visiting Minus Space, Professor T led a class discussion on the Gowanus Bridge about artists who are rejecting the idea of having to make work specifically for galleries to sell. We also discussed how artists have opened up their own homes to show their work and how many artists are now acting as curators. For example, an artist who some of us had the privilege of meeting in past semesters, Blanka Amezkua , opened up her home in the Mott Haven section of the Bronx and invited artists to use her bedroom to show work.
Which brings up many questions in our minds, such as:
1. How does the context affect how we see art if it is not in a gallery anymore?
2. Has it become more inviting and enticing to view art in, for example, someone's home?
3. Do we have stronger connections with works of art that are removed from the classic environment of the white box gallery?
4. How can we show work this way and find a way to interest diverse audiences?
5. Can this work be sold?
With this in mind, I challenge you with 3 small experiments. Before you begin, choose one art work, any art work that you have access to and control over.
1. Frame it and place it on a white wall on its own, for paintings, drawings, or photographs. For sculptures, installations, videos and performances, think isolation. How does it feel? What is its presence?
2. Place the artwork in a very open and public space, hopefully without getting in trouble with the law, which I will not get into. Just try this for a few minutes. Has the work changed?
3. Place the artwork in an enclosed space. Bathroom? Kitchen? Car? Bedroom? Choose a personal space. Any changes?
After visiting Minus Space, Professor T led a class discussion on the Gowanus Bridge about artists who are rejecting the idea of having to make work specifically for galleries to sell. We also discussed how artists have opened up their own homes to show their work and how many artists are now acting as curators. For example, an artist who some of us had the privilege of meeting in past semesters, Blanka Amezkua , opened up her home in the Mott Haven section of the Bronx and invited artists to use her bedroom to show work.
Which brings up many questions in our minds, such as:
1. How does the context affect how we see art if it is not in a gallery anymore?
2. Has it become more inviting and enticing to view art in, for example, someone's home?
3. Do we have stronger connections with works of art that are removed from the classic environment of the white box gallery?
4. How can we show work this way and find a way to interest diverse audiences?
5. Can this work be sold?
With this in mind, I challenge you with 3 small experiments. Before you begin, choose one art work, any art work that you have access to and control over.
1. Frame it and place it on a white wall on its own, for paintings, drawings, or photographs. For sculptures, installations, videos and performances, think isolation. How does it feel? What is its presence?
2. Place the artwork in a very open and public space, hopefully without getting in trouble with the law, which I will not get into. Just try this for a few minutes. Has the work changed?
3. Place the artwork in an enclosed space. Bathroom? Kitchen? Car? Bedroom? Choose a personal space. Any changes?
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| "Student Survival Guide" |
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| Professor T |
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| We can't leave Brooklyn without Candy. |
Minus Space
November 13th, 2010
"A platform for reductive art on the international level" - minusspace.com
Robert Swain at Hunter College and Minus Space
Our experience at Minus Space was short and sweet. The actual space is about the size of an artist's studio
and it functions as an informal gallery. Minus Space was created by a husband and wife team, Matthew Deleget and Rossana Martinez. They started a virtual space for artists to show abstract and minimal work and within weeks, through networking on the internet, they were able to have a small and intimate physical space.
This is a great example of how the internet has altered the art world:
1. Artists are able to connect internationally, which means ideas are being shared every second.
2. Artists are also expanding their views on what materials can be used to make art, if any at all.
3. Artists are also openly showing their work online, which further eliminates the many struggles of having to physically mail work samples.
However, one can argue that seeing and experiencing art are two very different actions. Those who have the visual ability to sit at a computer and research art works, are privileged because they have access to see it instantly. But physically entering a space to experience art gives one a better understanding of what they are encountering and you're also seeing it, hopefully, under the right lighting conditions.
Minus Space makes it very clear that their goal is to show work from artists that are specific to the space itself.
Robert Swain's paints and color samples and charts were on display at Minus Space that morning....
Monday, November 8, 2010
The Sculpture Center
November 6th, 2010
After the PS 1 MoMA trip, our class headed to The Sculpture Center. We were able to walk through
sculptures for the first time since our trip upstate to Storm King. The Sculpture Center is a lot more industrial and experimental, while Storm King is also industrial, it emphasizes human - made sculptures in reference to
nature. For more information on what we saw at the Sculpture, feel free to click on the underlined headings, which will direct you to their official press releases.
September 13 - November 29, 2010
Lara Schnitger: Two Masters and Her Vile Perfume
September 13 - November 29, 2010
In Practice Projects, Fall 2010
Justin Matherly, Lior Shvil, Josh Tonsfeldt, Viola Yesiltac
Saturday, November 6, 2010
Art Book Fair at PS 1 MoMA
November 6th, 2010
The BEST thing in the art world to experience, is the removal of all art in a museum
only to be filled by
BOOKS!!!
Death to Text? Death of Text?
The handmade quality and personal stamp on art is always an issue. Especially in our contemporary society as paper and text information turns digital and our 'lifeline' is the internet.
During the Art Book Fair at PS1 MoMA, showcases works that combine concept with the charming
"object-ness" of handmade artists books from major publishers to local galleries and artists. Though the fair was a bit overwhelming due to the volume of artists, viewers are encouraged to actually touch the art!!!! The best part of the experience is the disregard to the commercial world, while maintaining aesthetic uniqueness to each work of art.
"object-ness" of handmade artists books from major publishers to local galleries and artists. Though the fair was a bit overwhelming due to the volume of artists, viewers are encouraged to actually touch the art!!!! The best part of the experience is the disregard to the commercial world, while maintaining aesthetic uniqueness to each work of art.
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