Monday, November 30, 2009
Saturday, November 28, 2009
The crew working with paper is making some cool stuff.
Everyone enjoy the weekend and have safe return trips for those traveling.
Friday, November 27, 2009
Thursday, November 26, 2009
Monday, November 23, 2009
Jeremy Fish, who is one of my favorite artists, is having his first museum show down in laguna and his body of work is huge and amazing. seriously, check it out! i was fortunate enough to have caught his show at the fecal face gallery in SF last spring.
Saturday, November 21, 2009
Friday, November 20, 2009
I think every artist should use Exquisite Corpse to get their juices flowing (creative ones that is).
Its a game that can be played with words or images. It is thought to reveal the collective unconscious of the group.
Exquisite Corpse is a collaborative poetry game that traces its roots to the Parisian Surrealist Movement. The name "Exquisite Corpse" comes from a line of poetry created while playing the game: "The exquisite corpse will drink the young wine." Exquisite Corpse is played by two or more people, each of whom writes a few words on a sheet of paper, folds the paper to conceal part of it, and passes it on to the next player for his or her contribution. You can make up rules if you wish, and there are various ways to play. Its a great way to be creative with your buddies! I have had a blast countless times with Exquisite Corpse drawings and poems.
Exquisite corpse drawings (prints, paintings, etc.) work the same way as the poems. Draw something, cover or fold over most of the image and pass it on. The next person adds on to what you created (without knowing what it is). The results are phantasmagoric!
As an example, the following is an Exquisite Corpse composed by the intrepid Academy staff using the sentence construction Adjective, Noun, Verb, Adjective, Noun:
Slung trousers melt in a roseate box.
A broken calendar oscillates like sunny tin.
The craven linden growls swimmingly. Blowfish.
A glittering roof slaps at crazy ephemera.
I'm always down for an exquisite corpse so if you wanna try one, hit me up!
more npr picture show
found his sketches amusing
Thursday, November 19, 2009
This combined with my lack of enthusiasm for the sheer amount of prints we have to crank out by the opening has me stressed. I've got no idea how I'm going to manage to crank out ten different prints by the second week of December. This may be easy for some, but I think I interpret things a little bit more literally since I'm a graphic design major. Each of my prints is going to have its own theme to it and I worry that I won't have the time to make each one complete. For the moment, I'm just gritting my teeth and hoping that everything will turn out better than I expect.
Wednesday, November 18, 2009
Tuesday, November 17, 2009
the artist that does a lot of thom yorke and radiohead's artwork is a printmaker! check out stanley donwood's prints. theres a mixture of screen and lino.
btw... dont forget about tom huck today!!!
Sunday, November 15, 2009
I'm excited and anxious to print my litho tomorrow. Since I chose a fairly flat design I am doing two colors, and after helping out with Michael's on Friday I am nervous about how many tries its going to take to come out with 5 that are exactly the same using two colors. Hoping for the best though.
On another note, watched the movie Whatever Works last night. It's a film written and produced by Woody Allen. Check it out www.sonypictures.com/classics/whateverworks/site.html One of the better movies I've seen in a while.
Bree S. Williams
Saturday, November 14, 2009
With all that being said, I'll leave you with a video I found on YouTube the other day
Friday, November 13, 2009
Lecture: Tom Huck, artist's talk, "Rural Satire and Graphic Terror", 7 p.m. Tuesday, Nov. 17, Ulrich Museum of Art, WSU campus. Free. "Snacktime Marcy" on exhibit through December. Gallery hours 11 a.m.-5 p.m. Tuesday-Friday; 1-5 p.m. Saturdays, Sundays. Information, (316) 978-3664.
Vernell Morgan, Art Educator and Artist 11/9/2009
In 1938 when Viktor Lowenfeld and his family arrived in New York City, he spoke very little English, and knew almost no one. He came with a Master’s degree in art education from Weinerkunstge Schule, also, a PhD in psychology from the University of Vienna. Viktor had already published several books and articles before arriving in America. The Nature of Creative Activity became his first English publication. With the help of family friend Gordon Allport, head of the Department of Psychology at Harvard University, and an organization called Refugee Teachers; Lowenfeld secured a position with Hampton Institute.
Hampton Institute President Howe offered Viktor Lowenfeld the position of associate professor over the Industrial Arts Department. This was a trade school at the time (Ritter, 1990).
Upon Viktor Lowenfeld arrival at Hampton, he began asking Howe for permission to teach art classes. Lowenfeld couldn’t understand why there were no visual arts offered at Hampton. He saw Black people active in music, dance, and theatre, but not in the visual arts (Grisby, 1977). To identify with his students from Hampton, Lowenfeld chose to live in a Black community, using drinking fountains, and community facilities which were restricted just for Blacks (Peter, 1988).
Howe was reluctant to allow teaching art, if it was not related to learning trade and industrial careers for the students who would receive training in those areas. The institute was divided in the following academic areas: the schools for Agriculture, Business, Education, Home Economics, Summer School and Social Studies. President Howe had said, “These people are not interested in the visual arts,” Lowenfeld refused to give up and accept President Howe’s answer. He asked for a chance to offer classes in drawing with no credit given to see if anyone would attend.
Howe finally issued a letter November 8, 1939 to all departments at the institute, informing students that there would be classes starting in November consisting of drawing, modeling and painting (Ritter, 1990). According to John Biggers, one of Lowenfeld students stated that 700 students attended class that evening without receiving credit (Grisby, 1977).
Some of the students that enrolled in his classes were John Biggers, Charles White, Samella Lewis, Elizabeth Catlett and John Bean. There were many more that enrolled later at the insistence of other African American students (Ritter, 1990, Wardlaw, 1989). According to Grisby this is how the art program at Hampton Institute began.
Lowenfeld believed art is related to mental health; i.e., a creative person was a healthy person. The value of art was not in its beauty, but in the outlet for expression its creation provided. His goal was to help his student’s develop a healthy sense of confidence and emotional well being. Lowenfeld therefore provided enlightened art classes which would allow “self adjustment through creative activity,” a phrase he would often say to his students (Ritter, 1990).
According to Lowenfeld, art education serves two purposes. First, it promotes psychological well being. He states that emotional growth and creativity could be stifled if one was not provided with emotional outlets. Second, art education helps provide cultural identity. For the students at Hampton this meant racial identity. Neither of these concepts was a Lowenfeld creation. Both had already been developed in America and in Europe.
As Lowenfeld taught at Hampton he developed his own theories about Black Art in America. He believed Black art was influenced by three basic factors:
1. The African heritage of Blacks
2. The social status of African-Americans in the United States
3. Western Civilization
Because these factors are different from those affecting white artists, Lowenfeld taught that black art must make a different statement from mainstream white art (Ritter, 1990). He felt the awareness of self was necessary to break away from this limitation.
In “New Negro Art in America” (1944) Lowenfeld stated that the art work that is created will enhance awareness and reflect the experiences of the Afro-American in society. In short Lowenfeld taught his students not to feel they had to produce art work to please others opinion on what art should look like, but they should paint from the heart. And paint they did (Ritter, 1990).
What made the students at Hampton so distinguishable was the radically expressive style they collectively and individually developed. In Hampton’s art program the students were vested in Lowenfeld belief that art was communication ,a tangible expression of feeling ; that art was not an end, but a means; and that art was a very personal product , a view into one’s inner self (Ritter, 1990).
Victor Lowenfeld recognized the need for self- actualization and self-development in the art work of his students, his life’s work was a result of efforts to meet this need.
Grisby, J.Eugene. (1977) Background for Teaching; Youth in a Pluralistic Society. Art and Ethnics, Wm C. Brian Publishing Company, pp 133-135
Ritter, R. E. (1990) Five decades: John Biggers and the Hampton Art Tradition. Hampton University Museum. pp. 8, 9, 11, 13
Smith, P. (1988) the Hampton Years; Forgotten Legacy, Art Education Journal Nov. 1988. pp. 38-42
Wardlaw, AJ. (1990) A spirited libation; promoting an African heritage in the black college, The American Impulse in African American Art , Dallas Museum of Art. pp. 70
Thursday, November 12, 2009
i thought this was great especially the potato smile :)
megan st. clair
Monday, November 9, 2009
i found this website the other day and came across some great prints. there's quite the variety from chin colle to carborundum (collograph) to monoprints. check it out when u have a minute.
Sunday, November 8, 2009
I've also always loved art history. If it weren't virtually required to get a doctorate, I'd want to be an art historian. I adore looking into the art that was made in the past and relating the historical events surrounding it. One of my many beloved artists is Jacques Louis David (with whom I happen to share a birthday). I also happen to be reading a book right now in which David is a key character. The Eight plays to my love of history and art. It also takes some of the people depicted in his paintings and brings them to life as dimensional characters. I won't say who for any of the nerdy people who might want to read the book, but two figures in the above painting, The Intervention of the Sabine Women, play major roles in this book.
Well, now I suppose I'll stop lending too much information about my uber nerdy self.
In my increasing quest to find an identity for myself as an artist, I've been looking to my most immediate resources. You see, I'm a graphic design major, but my original intent was to go into illustration. I've also considered being a tattoo artist or maybe just sticking with graphic design. I'm maddeningly indecisive about it. Well, now I'm verging on considering production design for theater or maybe even movies, if I can get that far. I've always loved studying the intricacies of production design and my sister is a theater tech major, so with her skills in lighting and fly rails, maybe we could combine our efforts and monopolize a local theater industry somewhere.
But I digress. Long story short, I've been looking into a family friend's career as a graphic, environmental, and theatrical designer. Michael Downs is extremely talented and has designed everything you could think of from the lion exhibit at the Sedgwick County Zoo, to the South American tour of Grease. My favorite works of his are the sets for Oliver and Cindrillon. His style is really different and nothing like most of what you see on a regular basis. I probably can't hope to have as much success in my life, but I can at least aspire to it.
Saturday, November 7, 2009
I thought it was interesting to see someone take a photograph and then recreate it 3 dimensionally using paper.
Here's the link to the tire prints if anyone is interested:
I saw the city and art show it was pretty interesting. I have just been out at school most of the day building a canvas to paint on. I think I broke my stapler I guess stuff happens I just wish it would not happen in the middle of stretching canvas.
Friday, November 6, 2009
Sorry if this isn't important to anyone. I am just very excited to be getting this game on Tuesday! I feel like it is an appropriate subject to talk about because the artistic styles of everything in the game reminds me of methods used by printmaking. Here take a look and see what you think.
Wednesday, November 4, 2009
Tuesday, November 3, 2009
#1: I spent pretty much to whole day today finishing up my prints and boy was that fun. Now I'm tired, your tired, we're all tired. To much printing in one day makes Jason a psycho. But overall I'm glad with the way things turned out, althought I'm sure I could spend another few days adding details and what not.
#2: I think we should make critic day food day. It's my belief people would be more talkative and open if they could all eat. Who doesn't like eating...I practically do it everyday. When was the last time you had a food day is class? Food days make the World go round!
#3: I recently came across a site: http://www.pgannon.com/pgannon_fortune.htm
that's pretty cool. This artist makes his art from paper...cut and torn, which he then attaches to wood for the background. He has some pretty amazing things going on and also has prints avaliable. I'd love to see some of his work in person...the interent can't really give this sort of art justice.
#4: My windshield got hit by a rock from a big stupid truck (yes that is the technical term) and now I have two tiny little bitty ittsy minney chipies. I'm not for sure how this has anything to do with printing except for the fact it may inspire the masses to create some awsome art revolving around anything and everything to do with windshild chips...and big trucks.
#5: Printing has been a bitter sweet experience, has it not? There are times I enjoy it and times I'd rather jump off a bridge. I think the most inspiring part is learning a new technique that I actaully care about (not the ones that are less than cool) and pushing it to see just how far I can go, while learning all the while. Then you have the processes that just don't make any logical sense to me, but I have to do anyway. But in the end I guess you have to experince the bad to know the good.
#6: You know something else I just realized we haven't done yet in this class? That's right, watch a movie! Everybody loves to watch movies during class, I say we have a movie day and bring snacks to partake in the joy. Make it a movie related to printing...there's got to be a few out there...and the way it's not only educational but fun too! I can see it now...
#7: Definition: Naive
Use naive in a Sentence
having or showing unaffected simplicity of nature or absence of artificiality; unsophisticated; ingenuous.
having or showing a lack of experience, judgment, or information; credulous: She's so naive she believes everything she reads. He has a very naive attitude toward politics.
having or marked by a simple, unaffectedly direct style reflecting little or no formal training or technique: valuable naive 19th-century American portrait paintings.
not having previously been the subject of a scientific experiment, as an animal.
Monday, November 2, 2009
Monothon 2009 is taking place this week in Norwalk, CT. wish i could go as i love monotypes!