Write at least three short-term studio objectives (2-7 weeks-midterm group critique)
1. Create studio plan (hours to work- set goals by week, month)
2.Make several small drawings and execute 4-5 large drawings in mixed media exploring content. (notes on color- color may have to wait its turn)
3.Cast one large jar in plaster for use in sculpture
Quilt?
Action plan:
What are three concrete steps you can take toward achieving each goal? These steps should not be grand. Think practical and realistic.
1. Begin researching ‘Preserves’ concept (ie; history of the Mason Jar)
2. Buy/steal/appropriate (whatever) a few jars for use as models - check antique place on 67
3. Recycle paper from older works and create new ‘paper’ surfaces with gesso for large drawing (block print?).
4. Get the bloody studio set up (mini fridge) -need some clamp lights and tables for still life. Thumb tacks, shelf, etc.
What kind of research do you need to keep going toward your goal to begin making these concrete steps?
1. List making- word salad game- ‘PRESERVES’- random association
recommended steps in painting glass ( rendering glass) watermedia?
3. stick to studio schedule - set daily, weekly goal
Write at least three long-term studio objectives (7-15 weeks- final group critique)
1. Complete drawing research in first half of semester and begin plans for paintings (4 - do studies of horizontal or vertical format- which is best suited for the subject? will these be ‘product’ oriented or more formal? Screw it, do both.)
2. Construct surfaces for paintings (4) (stretched quilt over panel? maybe.) 36 x 48? maybe some intimate pieces?
Artists book of process- hand bound
Action plan:
What are three concrete steps you can take toward achieving each goal? These steps should not be grand. Think practical and realistic.
1. Begin constructing panels in next month so they will be ready to prime and work on (talk to Moulton about using wood shop)
2. make some small quilt pieces on panel to see how it feels (clear gesso?)
Get ass in studio
Bind up artists book out of recycled sketch books and make pages from collaged element- allow it to accumulate on its own.
What kind of research do you need to keep going toward your goal to begin making these concrete steps?
1. Work in the sketch book often allowing for free association of the idea and concepts
2.Be fearless with materials and try anything (screw archival)
3.create working schedule and stick to it
Looking forward to seeing that studio plan.... will it be on the wall?
ReplyDeleteOkay so time to make a few adjustments-
ReplyDeleteSo I built a 3-d piece out of foam core (lightweight, cheap, easy to cut) and boy did I go to school on that one! I dont know if I ever had a teacher try to teach me this crap in school but I clearly never learned it- or am unable to- one of the two. Is it a success? I dunno.
I will play with it some more this week.
Im also going to investigate a shaped stretched canvas- that is to say, painting on a canvas piece and then creating the stretcher afterwards- or should i do that in another order? I need to find out the behavior of unpainted stretched versus stretching painted canvas- something like that- which should come first?
This week I must catch up on reading and blogging (hence, this update).I can at least check off learning how to silkscreen! Thanx K. (or is it C.? You know who you are..) so I have to get a transparency to make the first one. Maybe small. OOH! I could make some multiples on this here masonite and go from there....okay that sounds good....
So idecided the construction was not the thing. Apparently I have a formalist bent and as soon as the form was done it was...well...done. No need for paint, no need for adornment. So I am painting the big shaped heads in game imagery and idea trying to extend the games idea into abstract areas of painting that are less literal. Does that make sense? I have attempted to go by the blueprint place to make transparencies of winking boy to make into silkscreen twice now and they have been closed both times. Third times the charm huh? we'll see, I will attempt again tomorrow. Once that is made I will jump into production of the image. I may even put one or two on a t shirt just for kicks. Whats the point of playing with silk screen if you dont get some fancy duds out of it right? Holla.
ReplyDeleteOkay so now to update the updates- does this make this ISPO a simulacra? Maybe, anyway here goes....
ReplyDeleteArtists I have looked at and who told me to look at them:
Thomas Nozskowski (cool but not quite there), Amy Sillman (awesome), Luke Tymens (no.) , anything in the Saatchi collection (mixed results)- all courtesy of Marc Mitchell- I found some of it exciting in that it opened up what is 'new' in the painting dialogue but others seemed too academic, too technical.
Elizabeth Murray (seen it, love it, dont know how to use it), RB Kitaj (useful for figuration), Leon Golub (gross but beautiful which is useful), David bates (yuck, no, too cartoony) - P. Walker
Ronny Cutrone (awesome- love those 80's), Kenny Scharf ( love him, love everything about him)- McGuire
So clearly I have asked pretty much anyone for ideas with mixed results. But it did make me reconsider my imagery and how to present what I want to present. Mitchell helped significantly in that I was forced to hone in on my central theme of Games and human relationships.
Studio plan issues:
1) the old work is useful but now it has to go- I cant have it all over, whispering behind my back with that feti moist breath of an old idea.
2) resolve at least one more work before the end of the semester and make a plan for displaying the piece- current ideas include a shallow box like frame to act as a 'stage' (think Butlers performance issues)
3) Winking boy went the way of the dodo but silk screening will be explored next semester in the grad print course that Janet and I asked for- awesome- I cant wait to etch again-
4) Once registration is complete I can set up the new studio schedule for next semester- having issues with that though- need to talk to Moulton i guess.
Overview of the semester:
I whittled my central theme down dramatically and now have a much better grasp of why I make what I make and how to make it better: All human interactions are exchanges of power and status which define the self- the model for this interaction is the 'game'.
Painting wise I have accepted a couple of things- one, I paint in terms of texture and experience- that is, the painting evolves from the act of the making, not the planning. Paintings are also not pictures they are objects; relatively flat, but objects nonetheless.
...and thats about all I have right now.
...oh yeah, and I might start a project of works with puppets as the primary subject. Puppet as model for the self or for the idea of the controlled- the desire for control of either the self or someone else- again, the 'game' as formative to the learning of being. Holla.
ReplyDelete