Studio Practice

Sorry for not being part of the discussion last week.
Here's my reflexion on my reading:

Have you ever thought about being a visual artist WITHOUT a studio?
Have you ever thought about building a brick wall in front of the gallery where you have an openning? Who can enter????
Have you ever thought about going to the police office and telling them that someone stole your art work ( without having an artwork) taking the police document, framing it and putting it in a show because you had no idea what to create for that show?
Have you ever thought about recreating the exact same show as the one next door to your gallery in Paris, reproduction of the paintings, the prices, the installation, all that at the same time as the other "original" show?
Have you ever thought you could be one of the most famous artist in the world with these kind of interventions? Maurizio Cattelan neither! But here he is today in is 2 bedrooms appart in New York city without any studio. Is best friend, only family and love: is cell phone. All the time being in contact with collectors, managers, directors and so on, he builds his career on what people as to offer to him and then he creates!
Creating doesn"t meen touching, building, manipulating, sanding, painting or printing for Cattelan. It meens having an idea : "I see that art has a great potential to refer to a broader debate, to go out there and reach an incredible audience."The most important sculptures created by Maurizio are physically made by Daniel Druet, a master of moulage who did several scultures for Cattelan like JFK, The Pope, Hitler.
Reading this article changes my vision of a studio practice. We spend so many hours in the studio without nowing who will really see the work. Maurizio spend the major part of his time finding where and WHO IS GOING TO COMMISION his creations...............and then he creates!

finally....

I have been thinking about the topic of beauty, the exhibition at Moore and Pepon's talk. I appreciated the show at Moore in different ways. All of the works were designed to be aware of space and attracts the viewers to interact with the pieces. Most of the works defiantly took the experience of the work to the extreme by presenting very attractive bold black and white graphic quality images. The flatness of the picture gives the viewer an exclusive illusion. You automatically built a relationship of experience between the line, shape, space and you. You are basically experiencing the fundamental elements of art making. I believe all works of art begins with ideas and as an artist you have to give people to think about through your work. The artists in the Moore exhibition took simple images and made them to very attractive pieces. I'm indifferent about their images(subject) but I like the idea that how they played with the fundamental elements of art making and beauty and presented is as what it is. "What you see is what you see" Stella.

Pepon's work has a different element of interacting with the viewers. I'm not familiar with Pepon's approach to the community but listening to his talk gave an idea of how the process is done. I have also watch his Art 21 episode and it seemed like he interacts with the people(community) in a more direct way.He interacts with people in a everyday life situation. He recreates the stories of the people through his work and encourage students to interact and listen the stories of the people. I'm not sure how the process really works but it seems very personal. Pepon is defiantly changing the relationship of experiencing the art making. He is taking the experiences of the space and veiwer and the maker to the extreme as well. There are no pre conception to his work unlike the Moore exhibition. However, I'm not sure if the message of the work that his students did are communicating well to the viewers. I would like to understand and learn more about the experience that the students. The idea of beauty in this case will be the process of the making and interacting with the community.

In relation to all of the exhibitions and finally to my work, beauty it plays a very important role. If I had to choose one exhibition that I can fit in more will be the the Moore. I understand the bold graphic marks and process of image making. I usually master the process and take control of the process of my work. I give myself a challenge myself with different elements when I am engaging myself in the process. During the process I fight my aesthetic judgements in the process of making. Meaning the aesthetic intuitions overcomes through and sometimes takes over the image. I am totally figuring out what I'm trying to and I'm not sure of why I'm doing what I'm doing. However, I know that i can make something attractive and I'm not sure what I will be the best solution to me.

Material Resistance Essay Now Available

Hey - I know you've been eagerly awaiting your chance to read the essay for the Medium Resistance: Revolutionary Tendencies in Print and Craft, and now you can! Go find it at our class website's readings page...download it as a PDF...read it and be ready to talk about it when I see you later this week...

free tickets to the armory fair

http://eblasts.armoryartsweek.com.s3.amazonaws.com/ARM-0010/
index_tasGallery.html

More opportunity

Thanks to Myungwon for posting the exhibit opportunities. I invite you all to consider making a proposal for the Foundation Lecture series for fall, 2010. We'll be focusing on the idea of the studio and how it varies form discipline to discipline and over history.

More information can be found at my blog. Thanks!

entries:“"Regionalism: New Art By North American Printmakers,"

Hello,

We have been asked to be one of the curatorial teams for an exhibition titled, “"Regionalism: New Art By North American Printmakers," at the Downtown Initiative for the Visual Arts gallery in Eugene, Oregon (www.divacenter.org).

The whole thing, ideally, will be like a visual map of what printmakers are doing in different places in North America. Hence the title. Also, the work doesn't necessarily have to be prints. Though everyone in the show would be a "printmaker," printmakers don't always make prints. Ideally, all of the work in the show will have been made within the last two or three years.

We are looking for:

-small to medium sized work, maybe on paper, maybe not.
-work may not necessarily be prints.
-unframed.
-created within the last two or three years.
-the exhibition will probably be salon style—ish.

We will be jurying from digital slides emailed to us. You can submit up to 2 pieces. Your slides must be:

-300 dpi.
-jpg format
-the longest dimension can be a maximum of 6 inches.
-name your files such as: lastname_title1.jpg and lastname_title2.jpg
-email slides to jcbggom@gmail.com by March 1st.
-in your email message, include a list of slides which describes: Slide number, Title, Medium, Size, Year.

We will let you know of any accepted pieces through email by March 10th.

The show opens on April 22nd, but work must be in Oregon by March 26th.



You can check out the gallery (Downtown Initiative for the Visual Arts) at: www.divacenter.org . For submission inquiries, email us.

Best,
JenClare Gawaran & Gualberto Orozco for Regionalism Exhibition




-- If you have any questions don't ask me ask jcbggom@gmail.com

Armory Show / Whitney Biennial 2010

Armory Show
http://www.thearmoryshow.com/cgi-local/content.cgi

Whitney Museum Biennial 2010
http://www.whitney.org/Exhibitions/2010Biennial