Cat Village

claws should try internet dating

2011-06-10T11:53:00.002-04:00

2011-02-23T19:24:00.002-05:00

Blacked Out in a Whiteout: Thesis Exhibition of Shannon Wilson & David Leighty

12 March 2011 5-7pm

49 Martin Rd.

Columbus, Oh 43222

Cobenick Studios Print Show

2011-01-25T02:23:00.002-05:00

Hey everyone,
I don't know if people are following this blog as much as they were almost a year ago, but there is going to be a Print Exhibition at Cobenick Studios. The gallery is located at 66 Parsons avenue. It is the same location where Brook, Suzanna, and Rachel had there show. There are going to be artist from Cleveland, Athens and the Columbus area, so it will be worth your time. Blake will have work in the show and I'm sure he will represent himself and the Ohio State printmakers well. It starts at 7pm and will end around 11:30pm. Snacks and adult beverages will be provided so I hope everyone will make it out.

Thanks,
Charlie

Angry little kitty hates his tail!

2011-01-03T23:38:00.000-05:00

I hope you all have a great quarter/life is good!

meowy Christmas kitty katz

2010-12-15T13:03:00.000-05:00

oh so poor

2010-11-30T13:39:00.000-05:00

http://www.npr.org/2010/11/22/131517862/dark-times-befall-painter-of-light-thomas-kinkade

Can this be our theme song?

2010-11-30T02:39:00.002-05:00

Seriously though, it's kind of perfect.

tiny

2010-11-29T22:47:00.000-05:00

http://news.yahoo.com/s/ap/us_tiny_houses

FEILD TRIP?

2010-11-29T22:20:00.001-05:00

http://new.brokenships.com/en

I miss everyone.

2010-11-19T20:57:00.002-05:00

Hello Village People

2010-10-27T01:07:00.002-04:00

I got on the village tonight (or this morning, I'm and early riser) to see if there were any titillating posts. I'm sad to see that people aren't posting things on the village wall anymore. I just watched the Art 21 on William Kentridge and was mildly impressed, mostly in regards the path that led him to become an artist. There is a really great one on time based artist as well. More importantly though.... I now live in the GHETTO and my Neighbs aren't so friendly. If anyone comes across any interesting things pertaining to art, or feline dance videos let me know via a post of the village.

Charlie

Sneaky sucker...

2010-09-16T20:20:00.002-04:00

Calling all cat enthusiasts

2010-08-29T21:57:00.001-04:00

Click it!
http://theuglydance.com/?v=vddqzndthr

OSU Printmakers: Unite - Travel - Take Over!

2010-08-20T13:26:00.000-04:00

Who wants to go road-tripping to some print conferences?

September in North Carolina:

http://printsummit2010.webs.com/

(MAPC) October in Minneapolis:

http://www.mapc2010.umn.edu/

October in Toronto:

http://www.openstudio.on.ca/printopolis.html

(SGC) March in Saint Louis:

http://sgcinternational.org/conference-2/2011-st-louis/

I cannot make the one in NC (bummer. I love Lenore Thomas and Satan's Camaro). However, I will definitely go to Toronto (José Roca and Richard Noyce) & Saint Louis.

2010-08-09T00:50:00.000-04:00

Pee Wee's Playhouse @ Studio35!

2010-08-02T22:18:00.004-04:00

Hey Printers! I thought a few of you might enjoy this information.. anyone interested in going? Not that we really should be in the studio working instead or anything....

kitties on holiday (enjoying the peace & quiet of the big city)

2010-07-30T21:08:00.003-04:00

Wanna read a review? How about in TIME magazine?

http://detroit.blogs.time.com/2010/07/26/removing-the-boundaries-between-us-and-art/

Okay so I think the article only appears in the online version, not print, but whatever. Doing this project with Shannon was so fun. Plus we went roadtripping with David...well...you can just imagine! Who wants to do something/go somewhere? I'm in.

Clare & Shannon Become Earth Artists!

2010-07-21T00:28:00.002-04:00

How will our first collaborative outdoor installation look on an island in the middle of the Detroit River? Stayed tuned to the Village. Maybe we'll have some photos? Join us on Saturday, if you happen to be in Detroit.

2010-07-10T17:35:00.003-04:00

ATTENTION VILLAGERS. Dinner at Joann's house next Saturday (the 17th). 821 Reinhard Ave starts at 1, ends when, according to Joann, we fall over. Be there, or be extremely square.

VILLAGERS

2010-07-06T23:00:00.003-04:00

Have your seen the book "Why Paint Cats?"

We can read it together.

Check out this book

2010-07-02T15:48:00.002-04:00

I recently ventured to the Columbus Public Library to obtain a library card and get some books. I was looking for some cool old printmaking books, and found a few. During the process I stumbled across a book written by Robert Long. I have never heard of Robert Long before this chance occurrence, and since the only real investment was time, I checked it out. It goes through the history of the Hampton's from the artist's perspectives that lived there. Long fantasizes about what the artist were thinking about about there interactions. It is a neat book and definitely worth the read. I am returning it tomorrow so it will be at the Metropolitan Library for the taking.

Charlie

Cat Village rep'd in CA!

2010-06-23T13:04:00.005-04:00

Hooray for Pacific doc kitties

Omg, cat wallpaper. At some crazy cliffside restaurant on Highway 1.

The Glorious Crown Point Press!

Haha, Typewriters at SF Moma

There it is, the infamous Koons

Clare & Susana's Summer Vacation Pics:

2010-06-18T22:13:00.003-04:00

kitty creep out

2010-06-13T10:18:00.001-04:00

Claw Marks

2010-06-11T08:54:00.000-04:00

I pawed some of your very best prints for photographic purposes. Some of which, I understand, you may want returned (Ian mentioned he was shocked at my audacity). I'll keep some to explain the processes to future kittens, and the remaining I will be tacking up in the graveyard near my summer retreat. Take the chance to get a look.

If you are particularly worried about the return of a specific piece please notify Ian. It may be a few weeks before they are placed back into your drawers.

Have a great summer,
Claws

Hot off the Press- The Health Benefits of Pickle Juice

2010-06-09T09:17:00.004-04:00

Pickle Juice

Thanks

2010-06-09T00:50:00.001-04:00

Hey this is to everyone on the Village

THANK YOU

kitty baby drinky poopsie

2010-06-09T00:38:00.002-04:00

Time for print drinks!

9pm this Friday (11^th)

My house

1194 highland st

Columbus, oh 43201

BYOBooze. There will be chili (with cornbread!)and maybe a campfire. And…

The moment you’ve all been waiting for...

meet my puppies, rifle through my stuff, and judge for yourself whether I’m really a hoarder or not.

Attendance is required for all

2010-06-07T00:26:00.006-04:00

2010-06-06T23:36:00.006-04:00

2010-06-06T20:28:00.001-04:00

Blake's Source Images

2010-06-06T19:18:00.002-04:00

The Final of all Finals

2010-06-06T16:48:00.004-04:00

Maya Deren, At Land, 1944

William Kentridge, Venice Biennale, 2005

Heidi Kumao, Defense Mechanisms: A Marriage, 1995

IBM Data Baby

Video Still

RIP

2010-06-01T14:02:00.003-04:00

Anyone else a fan of Louis Bourgeois?

Slovoj Zizek for Rachel

2010-05-28T08:51:00.000-04:00

Cornelia Parker for Shannon

2010-05-28T08:47:00.000-04:00

This was in comments but maybe I was suppose to make it a post?

2010-05-26T08:52:00.000-04:00

Environment is a key concept that I have been dealing with in my work this quarter. I am interested in the construct of different spaces. The spaces I am most interested in are intangible; our mental, and relational spaces, the space we find ourselves within the world around us, in context to our specific and individual lives. I really enjoyed the aspect of sound or lack there of, which Rachel found in within my piece. Sound was not something in the forefront of my mind while I created this piece, but it is about a moment. This moment is quiet. It is a space shared between two entities. My work has been a journey of discovering how to visually convey the different aspects of interpersonal relationships, and the spaces between them. As I created this piece, I was reflecting on a moment, which is not specific, but one I am ever seeking to experience, and perhaps have in small ways. It is a moment of connectivity. Of being at the same place at the same time with someone, thinking and feeling similar things, and being aware of the connection that has been established that is not bound by words, but a sense or feeling. It is an intimate, moment bound by unconditional understanding of place and presence. Much like a mother nursing her child. They are connected, each one existing within their own context, mother feeding and child eating, bound together by physical skin, yet deeper by an emotional bond, that often words can not describe. In this moment the mother is completely aware of her child, and the child although not in a developed sense of the word, is completely away of her mother. Words and thoughts are almost unnecessary in this moment; it is bound by the felt like.
With my piece depicting the two crows, I am trying to set a stage for a similar moment, where words are not necessary. As if shared by a life long friend or sibling who knows you more completely than anyone else. The crows are posed slightly facing one another. They are aware of each other’s company, yet they are not the same being. There is nothing else around them because in this moment nothing else really matters. I keep thinking about a moment where I was watching a bird, and it was aware of me watching it. We were both timid. I didn’t want to scare it off, and it seemed to be apprehensive towards my movements. So we both remained still. In this moment we were connected, in action and situation; the bird watching me watch it.
Going back to the idea of sound and space, the context of these two things are muted within my piece. Yet my goal is that they are still present, but within a subliminal context. The relationship is the center, the subject matter. The undefined space and sound around the image makes the relationship between the two beings ever more present within the moment. My hope is that the viewer becomes engaged within this moment. As if they are what the birds are silently observing and listening to. Yet as the birds watch the viewer, the viewer is examining the context within which the birds exist. And perhaps in this moment the viewer will have an experience, in which I have explained. Or perhaps they don’t either way there is something that is being created. It’s a space for thoughts and feelings, a moment in time that I have set up to occur. And perhaps the knowledge of the possibility of that moment’s occurrence is the heart of what the work is to me.

sarah

PERFORMANCES OF THE YEAR.

2010-05-26T01:14:00.000-04:00

Puppy, Poopey, Panties. from David Leighty on Vimeo.

Angie's Response to Susanna's Critique

2010-05-25T23:23:00.002-04:00

Thanks for the critique, it gave me a few different ideas for this project and some possible future projects. I produced this image as a way coping with the unknown which will soon be my future. I will be graduating very soon with no set plans. I feel like I have been piecing my life together but there is a lot still to do. In the image I am not looking at the viewer or at what I am doing I am just looking forward. The parts that are sewed are representing parts of my life that are finished, and the parts that are not sewn are the pieces waiting to come together. The fact that there is 9 blocks isn't significant, I mostly just wanted it to be symmetrical, and I knew that I wanted to tie them together in a different way, so I thought that sewing fit my idea pretty well. I haven't considered reorganizing the blocks for the image, I guess I have always just seen them as making the complete image. Maybe like an ideal self.

wheeeewwwww........ meow?

2010-05-25T23:02:00.004-04:00

First I would like to say thanks Danielle for taking the time to dissect my "pond" print, and really enjoyed reading her paper about my work. I thought it was a very clear and logical way of attacking my work. I also felt it was clearly written and concise, which was pleasing to me as the reader.

A lot of Danielle's ideas/theories about this print are quite accurate, and are generally what I would like the viewer to "take" from the work. I did give her some help, but, if I remember correctly, I only said that this was a made up space, or something about being from my childhood. I kind of regretted doing this at first; I guess I thought that I was giving some "secret" away. At the time I wasn't prepared to say something about the work ( or not say something about it) and kind of just spit out the first thing that came to my mind. At this time, I wasn't sure If I was satisfied with where the print was at visually/conceptually, and I guess was afraid Danielle would read nothing more than "fire" and "pond" from it. I periodically thought about what I said the rest of that day, and even worked on a possible third plate which I contemplated adding to the print. I decided against adding it at this time, I felt that it took away from what was important to me. I know this is a lot of rambling, but for some reason I thought this was an interesting thing to note about the presentation of my work/

Throughout my entire life, I've had these "places of oasis" in the form of man-made ponds. These were places of peace and sanity for me, when I needed to cool-off from school/work/ect., and more importantly I think that these places have directly influenced creation in my life. By making this print, I feel that I am attempting to reconnect with these moments of tranquility and more importantly, attempting to reconnect with things that make my creative "juices" flow. The life forms and fire are to represent those people in my life that I did spend time with in these places, and outside of these places. While I do love to spend time alone, thinking, and fishing; I think that I can only really enjoy these times alone, because of the others time during the day, that I have people in my life.

The Great White Hope

2010-05-25T22:11:00.000-04:00

Charlie really let me off easy in his review. I’ll be the first to say that for the last two years my work, except maybe one or two particular pieces, has fucking blown! It comes down to my lack of directio0n, my high level of distraction, and my inability to remember why I over chose Art as a major in the first place. Remember those people Ian pointed to outside the window on the first day of intro class, the enemy, well I think I’m one of them.
At this point, with two quarters left until I graduate, I’m simply trying to make it through. I ‘m sure some will likely say,” well shit Josh, that sounds like great material to make work about, you should focus your work on that!” If I knew how to do that I wouldn’t be in this position at all.
I want a break. I want a break from making art, from talking about art, from hearing theories on art, and from art school. This is not me giving up, in fact this is me admitting when it’s time to gracefully step away. If I continue down this path I will end up hating the art world and resenting myself. I really don’t want that. I remember a time when I looked forward to, got excited about, and needed to make work, but I don’t remember what that is like now. I have hope that by stepping away, and not force feeding myself the art world, constantly asking myself what’s wrong with me for feeling this way, that I will find my love for it again.
Right now I don’t need to make work to survive; it’s not my lifeline or my savior. I lost my desperation.

Rachel's Response

2010-05-25T18:29:00.002-04:00

Rachel’s Response
Thanks Sarah, for your kind and thoughtful comments. Yes, yes, and yes to:
• commenting on the content of the billboard. Why is it we need MORE FREE HD?
• spending the majority of time in front of a TV screen, or computer screen, or cell phone screen
• personal interactions becoming less and less
• a distraction from real communication
• Our society is nearly completely controlled by the media- we are psychologically controlled by this
• people don’t even realize when they are looking at billboards any more, as if their prevalence is just part of the landscape. Yet we absorb the content without even realizing it

I am exploring a theory that through a virtual escape from the monotony of daily mechanization and routine, the consumer of mediated imagery has become more standardized than ever.

What I find most ironic in this billboard is the promotion of Planet Green and The Outdoor Channel in HD. The channels themselves may have information on sustainable living and wild explorations of the outdoors, however, these messages are ironically displayed on a larger-than-life sign of steel girders, obstructing an actual view of the outdoors, which is sadly nothing more than an industrial site crossed by railroad tracks at the end of a parking lot. It is ironic that the Outdoor Channel could create a version of nature in a higher resolution than nature itself while simultaneously barring access to it. Walter Benjamin states, “The equipment-free aspect of reality here has become the height of artifice; the sight of immediate reality has become an orchid in the land of technology.” It seems to be an obvious statement on technology’s improvement upon nature and the creation of a simulacrum that is more “real” than reality. Umberto Eco in his essay "City of Robots" states, “Disneyland tells us that technology can give us more reality than nature can” and “We enjoy the conviction that imitation has reached its apex and afterwards reality will always be inferior to it”. If Disneyland and The Outdoor Channel can create for us a representation far better than nature itself, this suggests that nature itself can be disregarded, due to its inferiority.

We are no less fascinated by nature itself, but moreso our ability to represent it. This is certainly a long-standing fascination with images standing in for reality as well as an escapist antidote to the manufactured industrial landscape. Baudrillard writes, ”What society seeks through production and overproduction is the restoration of the real which escapes it.” The Time Warner billboard exemplifies this desire to recreate an escaped reality of high definition visions of nature in order to compensate for what is lost in reality. As Guy Debord describes, “The spectacle divides the world into two parts, one of which is held up as a self-representation to the world, and is superior to the world.” If it were simply this, however, it would be a large image of an idealized natural scene and nothing else. The cable company billboard takes this a step further as it not only imitates and represents reality, but also promotes the commodification of a manufactured version of it, to be considered and consumed rapidly from a distance. The billboard as well as the channels advertised seemingly have the capacity to expand as well as extend an illusion of time and space in the midst of its high-speed annihilation. It is selling us the normalcy of a routinized life as well as an escape from it through the spectacle.

My reaction to these images is to repurpose them through a very early form of duplication and representation, intaglio printmaking, and the effects of slowing down the creation of rapid-paced media meant for immediate rather than ponderous perception, in hopes of uncovering what lies beneath the veil of mediated imagery. This certainly gets me into a snag of all sorts of contradictions, but so far, that’s the fun of it.

Jacques' answer to Shannon critique

2010-05-25T13:15:00.003-04:00

First I want to thank Shannon for her kind comments.

For more explanations about my choice of a sailing ship:

A local artist friend of my parents had given them a colored "eau forte" (etching) of such a ship and I remember seeing that ship, full sails deployed, on the wall of our living room during my chilhood. Also being from a much older generation, my youthful adventure books were not about space, but old things as pirates such as "Surcouf" doing their trade in the Atlantic. There were also these exciting movies with Errol Flynn.

Being in land-lock Paris my acquaintance with the sea began in later years during summer vacations in Brittany. It is there that I took some sailing lessons.

Shannon is right besides my love of sailing and the sea, I am also very interested in history and exploration.

I wish I had done my ship entry in color.

Blake's Response

2010-05-25T13:04:00.002-04:00

As we all know, we develop complex relationships with those we live with over any extended period of time. This piece attempts to make visible in the physical world the nature of the mire that is my friendship with the people I live with. There is a palpable tension between the three of us, a tension explored and most likely exacerbated by the making of this work. On the surface things seem functional, but there are subtle signs of the little wars being waged in the house. My butter is thrown to the back of the refrigerator in exchange for hers, aggressive notes are left to be found, certain dishes are left unwashed. Doors are shut and greetings curdle on the lips. No I don't want pizza. No I don't want to watch a movie. You owe me seven dollars and ninety eight cents for the bills this month.

When working on this print, I knew it would be a departure from what I had been doing in both subject matter and presentation. Perhaps it is because I have been working in a more representational way and felt the need to break myself of my patterns in subject and working patterns that I turned to abstraction. I felt very strongly when making it that a representation of a mental space with physical objects would not do for this work. The physical breaks into the work in the form of my roommates bodies. I asked them to pose with little to no direction, letting them be themselves. They, and perhaps at the time I, had no idea what I was going to do with the photos I took. There is a definite push and pull between what my roommates imagined their natural states to be and what I did with them.

Jacques is right in that there is a definite push between serenity and aggression in the work. In the physical world there are signs of serenity, but even there degradation and erosion have taken place. It shows the slow leakage of discontent into the physical space around them. However, it is only when we move to the more metaphysical space of the work that the aggression and darkness really asserts itself.

I also want to note my absence in the work, and what I am beginning to think will be the title. Antagonism in Three Parts is what I believe will be the title of the work. But why three parts, three participants, but only two figures? As the creator of the piece I implicate myself as participant. I exist in the work as the hand that made it. This leads me to one of the unanswered questions I myself have about the work. Where does the viewer stand? Normally this is not something I would take too much into consideration, but since I am considering myself as part of the work having made it, then it may be important to also consider the role of the viewer. Maybe Claws has some thoughts for me on that one.

In Response to Angie's Critique

2010-05-25T09:36:00.002-04:00

I enjoyed the critique Angie gave my work. She offered a new perspective to the work and some interesting ideas have come of it. I never thought I was so concerned with making a mark, or leaving a mark. As Angie spoke about the work in this manner it seemed the work came alive in a different light. I was interested in the idea that the work looked like an artifact found in the ruins. The question of why do we leave marks also interested me. I do want to be remembered. Not as a great artist or anything, not as a name. I want to be remembered as an individual who did something different. I wasn't necessarily thinking that the floor tiles were from Haskett Hall. I think they are more broad than that. The shoe print is a Vans shoe, not puma or converse. I feel as though everyday we go through our lives making marks mentally and physically. I question the intentions society in this vain. Marks, on a broad scale aren't made for good, they seem to me to be made of sale. What can we do to sell this product or idea. In the case of this work they shoe print is important because of one reason. Angie states that reason well with this quote "These is a nice anonymity to this project, it could be any ones footprint, but on the creator knows that it is theirs." I find the shoe print nice because I've worn the shoe for a while now. I bought it at a second hand shop in Columbus. The original owners wear on the shoe is severely distorted at this point, now it is my own. I used the shoe to aid in making my artwork, in the same way I used a shoe that was not mine in another piece. I plan on hanging this piece along side the Chanel footprint piece and seeing what dialogue the two works have between on another.

Charlie

Danielle critiques Phillip's print

2010-05-24T19:20:00.003-04:00

The context in which Phillip's work operates within is the fictionalization of personal history. My theory about Phillip's print is partially based on the small amount of insight he gave me about it.

This piece consists of two plates creating a single scene. The plate to the viewer’s left depicts what appears to be a pond surrounded by marshy plant life and cattails, while the plate on the viewer’s right depicts a small part of the pond in the background and a campfire along with a pile of firewood and collected tree limbs in the foreground. The flames of the campfire climb up to nearly the top of the image. It appears that some animals like to hang out at the pond, although I’m fairly certain that they did not start the fire. On the left is a swimming duck or some other type of aquatic aviator, and on the right is a turtle perched on a limb protruding from the water. Some other objects that look like rocks and limbs have surfaced in the water. Although they appear to represent the same place, the vegetation surrounding the pond looks different in the two separate images. The vegetation on the left appears much lighter and more sparse than the vegetation on the right. Perhaps they represent different points in time in the life of the pond? Or is there a statement being made about this environment?

Phillip has stated that the print subject is a fictional representation of his childhood. I feel that it must be a conglomeration of memories. For some reason, I think of Boy Scouts because of the firewood, and possibly the “learning to build a fire” badge. I also think of fire as being a source of warmth, power, energy, and light. Mostly though, I am left wondering where the people are that have compiled the firewood and created the fire. Does their absence represent people in Phillip’s life that are no longer around? It seems that this space Phillip has created holds important memories, even though it is a fictional place. I feel that there have been relationships with others built up here, or perhaps this is a place where he made discoveries about himself.

shannon critique of jaques

2010-05-24T00:58:00.000-04:00

Jaques’ piece depicts an old style ship on the water. It is a ship with sails and looks similar to what the early explorers may have used. This particular ship is pictured on a calm body of water with what appears to be land on the horizon. It seems the boat is headed toward the land as there is what looks to be a rudder on the end visible to the viewer. The image consists of a line etch and aquatinting. The aquatint is darker and splotchy around the edges of the image area giving the print an aged feel.

When asked if he would like to say anything about his piece, Jaques simply said that he likes sailing. This would lead me to believe that this is a sentimental kind of work. But since it is a general type of imagery it lends itself, more than usual, to the viewers own interpretation of meaning. I think a ship like this one can conjure up a lot of feelings and thoughts. It seems historical since it is an old style ship, which makes me think of the time of the early explorers. Pending your personal view on that particular point in history, this could bring up different emotions. One might get a bright sense of new discovery and new beginning, while another may experience a sense of doom with the knowledge of the invasion of a land already civilized and inhabited by a native people. In a more general sense a ship can be viewed as a symbol of freedom. Many have spoken of the lure of the sea. The waters are open and free, owned by no one entity. The sea holds mystery and power. It is perhaps one of the purest and most unspoiled places on the planet.

Because of the aged look and the dated style of the ship this piece has a definite sense of history to it. Aside from that, I think it is an expression of Jaques’ love of sailing. It is a caringly executed work, but holds no overt sense of meaning. It seems almost like a record of something, whether that be a time and place or simply of a personal interest. Though the intended meaning is not clear, the image freely allows room for interpretation. I think this is successful in that, similarly, the sea is dictated by none and allows anyone who experiences it to explore their own sense of wonder.

I'm late, I'm late! Oh dear, will I ever learn...

2010-05-24T00:06:00.000-04:00

Before hand, I apologize Angie, for it seems that I was not well prepared...should have taken a picture of your image, but I am giving it a go.

So to begin, I recall you working on your print and being curious to know what you were going to do with all those small copper plates you were preparing some past day in the studio.

And to begin, Angie's print consists of several small prints that come together to form a self-portrait. Each individual print is sewn to another print in order to form one whole. In other words, a sort of grid puzzle. She is basically piecing together pieces of herself. In this image she is holding a needle with thread between her fingers that is directed toward the viewer. She seems to be in the act of sewing the print together. It almost appears as if Angie were looking into a mirror and the viewer were on the other side of the mirror. You have the illusion of being on the inside of the printed image, while looking at the creator while she works.

Before I go any further, I already wonder and question why she is piecing herself together in this manner. Why the need to cut the pieces in order to sew them back together? What is Angie trying to say with this? Is there a need to cut in order to reunite? I also wonder if the number of pieces have a significance. Did she purposefully decide the number of pieces that would form the whole? Is this a representation of her life?

I think it might have been interesting if Angie would have left the pieces out of place. If she would have sewn the grid back together out of sorts. Why the need to disassemble in order to bring back the same way? Why not dismantle and reunite differently? But then again, can anything be reunited in the exact same manner as before? Probably not. Perhaps, that is why there is the need to have the thread. The thread in itself represents a change, and no matter how you try, the pieces will never exactly come together in the same way, they are forever changed.

I enjoy Angie's piece and it's ability to make me ask questions and feel that it has been successful in this manner. However, I don't have answers, and I prefer not to impose my self-centered thoughts onto Angie's print. Nor do I wish to compare her prints to others. All I can say, is that I now have many questions, and want to seek my own answers, and perhaps Angie is seeking her own answers, too.

Charlie on Josh

2010-05-23T23:29:00.002-04:00

Writer: Josh Lemoine

Critiquer: Charlie Thompson

I had some time with Josh's print at the studio this evening. I spent quite a bit of time with it to be frank. As I sat there inspecting the work, looking for something to catch my eye, couldn't help but revert my attention to the other works on the wall. I looked at the work as a whole, then left my seat to get a closer look at a few pieces. As I moved away from the wall and back to my seat I felt myself acting as if I were Josh. I took a moment and attempted to put myself in his position, copying to my best ability his movements during critique. Objectively I moved through what I could remember. I moved from a distance got a very close look at the pieces that caught my eye, felt the textures of the ink on the paper. As I went through this process I found myself in an intimate critique of Josh. Although I am not Josh, this felt very familiar to me. I thought I would wait until Josh posted his critique on Shannon's work before I moved forward with my critique.

I sat looking over my notes in front of my computer.

They are as follows:
"I had very little thought (which is quite normal) on this until after I
examined the image"

Old Grandpa Man... Elderly Man... What else beside a fishing cap

A Grandma' ma'

Social Interaction

I found it interesting that Josh critiqued Shannon's work the same way he does while he is in the gallery or studio critique environment. I can almost picture his walking up to the work and objectively looking at it, and making the remarks he made in his writing. The notes I took were only from his writing, for I didn't take any at the studio while looking at his work. The remarks Josh made in his writing emulated the normal approach taken in our critiques. He approaches the work objectively, making a spectacle of his time spent with the work, looking closely, telling us what he sees. He then follows that that with another observation in the form of a joke. In this case he calls the two figures in Shannon's piece an "Old Grandpa Man" and "A Grandma' Ma'". The back and forth approach can be seen in both descriptions about the figure. He refers to the male figure as "Old Grandpa Man", "Elderly Man", and after following a more serious approach he comes back with the light-hearted subjective comment "What else besides a fishing cap".
I went about critiquing Josh's work in this way because I feel the social interactions I, and the fellow artists have with Josh are seemingly of higher interest in the critique setting than the work he displays. I only say this because from my perspective he approaches critique in the same way we interact. For me this is where the parallel between the intimate relationship I described above and this critique is drawn. I took this approach because I felt that approaching this critique in this manner could be more in Josh's favor.

Sorry about the three minute delay on the time limit.

I will bring Cat Nip for Claws in hopes of forgetting

Charlie

Lost and found... in the "bubbles"

2010-05-23T22:38:00.006-04:00

It only took me a glance around the prints on the board to figure out which piece belonged to Susana. The circle pattern that "filters" the image was the first thing that reminded me of Susana's past work. I was not sure what to make of the piece when looking at it for the first time, and only after actively looking at the print for a long period of time was I able to begin to make some assumptions about the context.

The first thing my eye is drawn to is the three doll-like faces, that I can't help but feel are somewhat creepy. Upon further investigation, I see that there is another face that resembles the other three, and I can make out a body and it appears to be a female that is wearing a dress. My eyes seem to pull back from time to time, and I notice this black filter, that has circular openings where the image is allowed to be seen, and is highlighted by contrast. In describing the other 3 figures/heads is where I begin to run into some confusion. The figure in the middle appears to have another image over top of it however it is unclear what that image is. The other two faces seem much darker, both literally and metaphorically, and the lower face seems to have a hand around it's throat. These elements come together to cause confusion and the work seems to express a psychological feeling, like dogs, or could be commenting on a relationship.

For me this work feels a lot like a dream, or more specifically a nightmare. These three figures seem to be lost behind this black filter, and are layered over each other. They are layered in a way that makes them appear as they are hurting each other, and the faces on the left look deformed, like they may have been abused. The hand on the throat is what makes me believe that this is some comment on abuse, and the figures are childlike so this makes me think it may be a case of child abuse. The black filter seems to be this mental "block" that appears in different forms throughout Suzanna's work. This seems to represent what most memories are like, in that you can only remember pieces of the event, and the rest seems to be blocked-out. I have wondered before about this phenomenon of forgetting parts of a memory, and why we block out certain things, and remember other things; and also I have wondered why I tend to not remember bad memories as clearly as the good ones. Is this because we subconsciously want to forget these bad events, over time? Or is it something in our brains, that when the event takes place, does not allow us to remember to our full potential?

These are questions that I have asked myself from time to time, and I guess worry me. I do not like to forget things, and I especially do not want to forget the bad. Forgetting the bad, could lead to a recurrence of the situation. This was extremely successful helping me think deeply about these questions I often ask myself. While I am not sure that I completely understand the full intentions of the work, I can attempt to theorize its meaning by putting it into the contexts of my own crazy life/mind.

P.S. So So Sorry I spelled you name wrong the first time, Susana !! For what it is worth, the way you spell it is much better than the way I attempted to !

Sarah's print, blabbered about by Rachel

2010-05-23T22:28:00.002-04:00

In Sarah’s untitled print, sound is conspicuously absent, as is landscape. This contrasts with her other work, where much of the landscape is visible, including evidence of human technological presence, depicted by railroad tracks and telephone wires. There too, one could be yearning for an imminent sound forever suspended by the still silence of the image and white space. Here, she exaggerates the silence by the white field of background with listening crows, forever poised in the moment before action. They could be watchers of humanity, they could be communicating with their own species or another. Either way, this image seems to convey a watchful waiting from the margins through suspended interaction and communication.

The print depicts a pair of crows standing to the lower right side of the page. They exist in a simple white background with not much evidence of space, save for a few scratched lines around the feet that simply hint at a ground plane. The crows are standing in a position of curiosity. They both appear to be listening for something, and they also lean towards the same subject of curiosity, heads cocked to the side, waiting for something beyond our window of sight. This object of disturbance that they wait for could be quite close, perhaps just out of reach, as the birds are so close to the image border. All of this conveys a psychological and social grasping at what is just out of reach.

Symbolically, crows are often an omen of death or connection with the afterlife. They are an intelligent and social bird, having a highly developed form of language and can even communicate with other species. They are a social and watchful type that observe life below from up upon the wires. As far as appearing in visual art, Kiki Smith created a circle of bronze crows in a departure from her usual explorations of the human body. They are lying lifeless upon the floor as a representation of an incident of crows falling from the sky, reportedly caused by pollution. She states, “The older you get, the less you're involved in your kind of internal, personal, psychic trauma or something and you're more just sort of being out and about and seeing your interrelatedness to other beings and to your environment.”
Jean-Luc Godard creates an opposite situation to Sarah’s print in his film JLG/JLG:
“The shrill and raucous call of a crow is superimposed over an unpopulated, barren country field marked by a path leading into the horizon. Not only is the crow conspicuously absent on the screen, but its sounds are conspicuously disjunct- too loud to be part of the landscape. This sequence, sometimes with the muttering voice of the narrator superimposed, is repeated at irregular intervals… But how are we to interpret it? Is it primarily a visual, pictorial image of a now lifeless place? Or does the sequence prioritize the audial track, presenting a warning cry, or a portent? I want to suggest that, consistent with much of Godard's work, this sequence does not hierarchize the aural and the visual. On the contrary, it fuses the two together as a sound image or rebus, and it is in this way that the sequence makes sense.” - Alter, Nora M, Camera Obscura, September 01, 2000
Sarah seems to be fusing sound and image as well, as she hints at both with subtle clues through ground lines and the action of listening. She also seems to relate to Smith’s statement about observing other social creatures and the environment. Here, both are done simultaneously, but with less attention to the physical environment. Or perhaps it is present in its absence. It is curious what comes across through selectively isolated elements of landscape.

2010-05-23T22:06:00.001-04:00

The interweb always tricks me, something weird went down when I copy/pasted my writing into the post box in my web browser! I reread my post, but if there's something crazy in there that I didn't see I revoke responsibility for it, unless it's fabulous!!

Charlie's Print ~ Critiqued by Angie

2010-05-23T22:05:00.005-04:00

To: Charlie

This piece appears to be tiles on the floor and there is a remnant of a foot print. The are two colors in the print a brownish that was used in the background and black for the lines on the tiles and also the outline of the shoe imprint, I cant tell if it is two different plates or just one inked twice.. The shoe print looks like a regular casual shoe maybe converse or puma. There is also an interesting mark on the bottom left corner of the print, which looks like it could be a stain in the "tile"

This piece may be talking about consumerism. In the end we are still just walking on the same dirty floors, no matter how expensive our shoes are. This piece makes me think of Hasket Hall's future destruction. The dirty tiles on the floor are very similar to the ones in Hasket and most of the university. I feel that this print has a lot to with leaving your mark. It feels more like an artifact found in some ruins.

It makes me think about what it means to leave a mark, and why is it so important for us to "leave our marks" Why do people write on bathroom walls, carve our names in trees, or leave our footprints in the sand? Do we all just want to remembered, or want passersby to think about who we are, or what we are like. There is a nice anonymity to this project, it could be anyones footprint, but only the creator knows that it is theirs.

The floor tiles I feel are Hasket hall because, that is where we have spent majority of our time, We as a class have been told to take some chances and leave your mark for his last quarter.I feel a lot of Charlie's work also revolves around the act of making. In other similar projects he has been working on this quarter working with this process of leaving marks. The way that he creates patterns and designs on the plate, by stepping on the plate, is very interesting to me because I would never think of producing an image in that manner. For this particular piece I really enjoy the minimalism. The simple shapes that the shoe patterns create are really nice.

A couple questions for Mr. Thompson: what kind of shoe is it? Is the brand of shoe important, if so is the cost of the shoe important like the Chanel shoes?

I smoke weed all day, that's all I do...smoke....all...day....

2010-05-23T21:58:00.002-04:00

="Originator" content="Microsoft Word 12">

J.C. LeMoine writes a spectacular mind numbing piece of garbage about the work of the Intaglio Artist.......Shannon.

“What a large amount of extra paper for such a small print.” That was my very first reaction to this piece. Being slightly familiar with the artist’s work, I recognize the utilization of large amounts of unprinted paper surface as a clue to the mystery of deciphering the artist’s thoughts. The immediate difference between this piece and previous ones of similar paper magnitude is that this one has a clear boarder. The printed area is clearly defined and lies in contrast to the large empty area more so than its predecessors. I had very little thought (which is quite normal) on this until after I examined the image.

Instead I focus on the printed surface of the paper. Located in the bottom right hand corner of the printed area I see two figures, an old grandpa man on the left, and a grandma’ ma’ on the right. I label them so because of the build of the left figure, it reminds me of an elderly man, and what else could that be but a fishing cap on his head? The right figure’s shape reminds me of an older woman wearing a dress, as does the silhouette of the figure’s head/hair. Even if this is not correct, it’s not really important to me just yet. There’s something else that pops into my head first, that these two separate figures aren’t actually separate at all; they are both part of the same continuous line. At this point my desire to create purpose from something I know nothing about is so strong I begin to make a story about these to old love birds who have been together through their whole lives, and now I can explain the length of paper as a linear representation of a long life lived prior to the moment in time that the print captures on the right. I love subjectivity; it’s the only way to live!

Then there’s the word “rust” printed at an angle through the left figure. I find that the word supports my previous subjective thoughts. Rust, old things rust. Things that aren’t kept well or are in need of replacing often rust. Rust is found on things that are forgotten, that are pushed aside or discarded. Rust caused things to break. I notice the tail on the letter “T” in the word rust is facing the opposite way of the font faces I have seen where the t’s have tails. The way it is facing now reminds me more of a j that a t, so perhaps the t is backwards. Now maybe it has to do with being completely paranoid about everything, but when I am shown a word that stands by itself and asked to think about it I always try to rearrange the letters or read it backwards looking for a hidden message. So I realize trust and rust are just a letter away and now I’m thinking about the trust between people as a link, a chain link, and when that trust fades it’s like our link has rusted and may eventually break.

Whew,…there’s not a speck of objectivity in this post.

If ever thing I speculate is incorrect, I feel I can make a few solid claims. The first would be that the word rust is clearly negative. I cannot think of a single instance where rust is wanted or sought after. Another would be that there are two human beings being depicted in the printed area. They lack identity and have little to no personal connection with me the viewer. The last thing would be that the artist intended to make a purposeful statement with the excess of paper (in comparison to the printed area,) and that it’s not just there because they didn’t feel like tearing it down.

It’s hard to say whether this piece is working or not, because even after spending extra time looking at it, I don’t feel I am pushed to make any greater deductions about the piece than what I have already stated, which I realize may not be much. Also, the emotions stirred by this piece aren’t strong on either side of the negative positive scale. I just kind of exist with it, doubting my own thoughts about its meaning. At the same time I feel contradicted because I feel like the piece is done, that it doesn’t need anything else added to it.

I’m just not sure.

This is the Cat's Pajamas! A critique of Danielle's work by Blake

2010-05-23T18:55:00.001-04:00

There are no cats in America, and they most certainly do not dance, but they do apparently swim. Danielle's swimming cat, or fishcat, is swimming for his life with eyes wide with panic. This print is absurd! Ludicrous! Cat's don't swim, it's preposterous! Absurdity and humor are key to the context and functionality of this work.
Humor is rapidly becoming more and more acceptable as a legitimate form of artistic expression. Humor is admittedly dicey in the art world. Humorous work has often been thought of as lower work, or as some people would put it, art with a lower case a. It is only with the rise of postmodernism that humor has become not only accepted, but embraced as serious expression.
Contemporary artists like William Wegman and Walton Ford both use not only humor, but also animals in their work. There is something we find extremely funny about putting animals in human situations. Perhaps by seeing animals replicating singularly human activities, we can come to realize just how absurd the human being really is.
So what is this work trying to say to us? There are several directions I could take this. Maybe deep down this work is about the futility of life, we like cats swim against the tide almost drowning. Perhaps it is a comment on the things humans force animals to do, assuming because we enjoy them that they must too. Perhaps it is about the dark underbelly of society, that on the surface we see a cat swimming, but really it is drowning and in distress while its owner does nothing.
Honestly though, I think it is more accurate to look at this piece as a funny print. Sometimes, it's ok to just laugh at something; a piece of art that is funny and makes you laugh is just as functional as one that makes you think about your place in the world. Art making in contemporary society operates within the realm of ideas. Much of the art being made today is experiential, and laughter and fun are experiential things. It is ok to make art that makes people happy just as much as art that makes people think. Both forms of art making are valid, and Danielle's work exists to make people laugh. There is a place for humor in expression, and in American artistic culture. Sure, this work isn't attempting to plumb the depths of the human psyche, but happiness is very much a part of the human experience. Art replicates life, and happy moments are a part of every human being's life.
As far as critiquing Danielle's work, it is a successful work. The cat is scared, the cat is panicked, the viewer is chuckling. There is also an element of subtlety to the humor in Danielle's work. It is sight humor yes, but most definitely has an element of nuance. Something to consider in the future is perhaps overplaying and caricaturizing even further certain elements in the work. Another angle possible for future works would be to further enhance the subtle elements of humor. She may want to interlace small funny elements into otherwise normal scenarios. They act as Easter eggs, forcing the audience to look closer at something they first believed to be a pedestrian image.
As I said before, she may want to look at the works of William Wegman or Walton Ford. If she wants to take this "cute" imagery and turn it to subversion, she may be interested in Chiho Aoshima or Takashi Murakami. In the future she may also want to consider turning her art making toward participatory actions. When you are making art that is there for the enjoyment of others, involving them in the process can enhance the emotions you are trying to evoke.

Rachel's Piece, critiqued by Sarah

2010-05-23T16:37:00.000-04:00

Rachel’s piece is an intaglio that depicts a large Time Warner Cable billboard that spans the length of the image. The billboard sits behind a parking lot, with shrubs growing around the supporting posts. The billboard is printed using color. The rest of the image is black and white. Behind the billboard there appears to be train tracks, but it’s hard to tell. Wires hang above and in front of the billboard and stretch off of the image. The location of the billboard is unclear. It doesn’t appear that there are any buildings behind the board, but perhaps an electrical unit of some sort. This makes me sense that it is in an industrial area, or somewhere that is not yet completely developed. I’m reminded of the signs they put up in neighborhoods that are still being developed, giving the neighborhood a name, and letting us know that its coming, and will be a desirable place to live once finished.

The billboard is advertising for Time Warner Cable. Spread across the right side it reads: “NOW MORE FREE HD!” and on the left side it features some selected channels that you would find on cable. I am trying to place the reason behind creating an intaglio piece that features this billboard as its main content. It suggests to me that Rachel is commenting on the content of the billboard. Why is it we need MORE FREE HD? And last I checked, cable actually isn’t free at all. I start to question things, such as how many channels are on cable TV. I don’t have cable, so I’m not sure. I do know that on average most Americans spend the majority of their time in front of a TV screen, or computer screen, or cell phone screen. This immense interaction with electronics seems absurd to me. The personal interactions we have are becoming less and less. We are now always one step removed from reality. We text instead of call, call instead of meet face to face. We use email instead of hand writing a letter, and we use TV as a distraction from real communication all together.

Another aspect of this piece seems to be questioning advertising and media. Our society is nearly completely controlled by the media, the clothes we wear, the things we buy, the products we consume, are all directly influenced by the media, even if we don’t realize it. Even the topics we find important enough to talk about with our friends and family are the result of the media. There have been studies that show that people don’t even realize when they are looking at billboards any more, as if their prevalence is just part of the landscape. Yet we absorb the content without even realizing it. I remember when My parents moved to a new neighborhood and we were trying to connect to the cable. When I learned that Time Warner was not available in the neighborhood, but that we would have to subscribe to a company I was not familiar with at the time, I’ll admit I was disappointed. As if this other company would not be as good because I had not heard of them before. I didn’t even realize it at the time, but I was basing this opinion on the fact that I knew what Time Warner was, but didn’t know this other company. I think the majority of Americans do this all the time. We buy lucky charms vs. the generic marshmallow cereal because we are familiar with the brand; we are psychologically controlled by this, and who is behind it? The media and advertising.

There is a lot to ponder in this image conceptually and intellectually. To me it speaks to the fact of becoming aware of what is around you and what you are feeding into. I actually know where this billboard is located, however I never really realized it was there until it was pointed out to me through this piece. The image of the billboard is so large and bold that it demands your attention and awareness, and removing it from its normal location and placing it within a work of art further emphasizes this idea.

I still have some questions about choice of subject matter, and more specifically Rachel’s view on these topics. I think this piece shows beautiful technique. It creates a space that pulls the viewer in and invites mental participation.

Jacques on Blake

2010-05-23T14:23:00.001-04:00

Artist: Blake

Critic: Jacques

Blake's work, that was untitled when he presented it, is a large (roughly 18x18) black grey and white print on white paper. The small head silhouettes on the bottom right and bottom left are, from Blake info, his two roommates. From the two heads, that are probably of photographic origin, rises the main composition that forms a somewhat arch composed of many abstract forms, black grey and white.

Is the arch apparently emanating from the heads of the roommates represents their dreams, their thoughts, what they want to say in a cartoon manner, or is it simply a background that these two are observing? The black central area appears to be the background and looks like the opening of a grotto or a tunnel. This is reinforced by some white shapes at the top of the picture that are suggesting stones. However on the left side of the picture the look of stone moves into more complex shapes and arrangements of oblique lines and squares. Inside the main central black part we can see a very curly and ill defined cloud of grey. The start of the grey seems coming out the head of the woman. Below the main black center we return to the white with some marks of grey and white looking like finger painting. Is this the end of the black tunnel?

I am shared between two opposite interpretations of this image: -Violence: the starkness aggressiveness and disorder of all these black grey white shapes. Are those the ideas and utterances of people fighting one another as roommates as roommates sometimes do. -Serenity: this feeling is mostly supported by the calm visage of the woman who seems to look expectantly toward the tunnel that might be the future.

My too limited knowledge of abstract art does not allow me to compare Blake's work with any artist or artistic form (may be abstract expressionism?) My only criticism is that besides seeing a remarkable work of intaglio and printing, I honestly do not understand what Blake wants to convey in this work: serenity, anger, violence. I find difficult to write on something I do not comprehend which explains the briefness of my comments, and I am very anxious to hear Blake talk about his work.

Blake

2010-05-23T14:18:00.003-04:00

Erwin Wurm

Fat Car

Thanks Claws

2010-05-19T21:27:00.002-04:00

Claws,
It is much appreciated that you drew a name from Phil's hat for me in my absence. I will not let you down in my critique of Josh's work. I apologize for my absence on Wednesday, but I had more pressing matters to attend to. I plan on hanging my work in the studio on Thursday in order to give whomever pulled my name from Phil's hat enough time to critique my work. Tell Ian that I will be seeing him in class on Friday.

I will not be Pawed at.
Charlie

2010-05-19T20:53:00.002-04:00

Charlie,

In your absence Claws picked a name from Phil's hat while everyone had their backs turned and pawed me the slip of paper. It revealed the name "Josh".

Hope to see you Friday,

Ian

Frankie sez: Thanks for inviting me to your Cat Village, pussies. Now...where da kitties at?

2010-05-17T22:11:00.002-04:00

Copious Amounts of Harper Engraving Footage

2010-05-16T14:56:00.000-04:00

CATS ON LSD (promote cat food)

2010-05-16T13:13:00.002-04:00

(MAKING DRUGS OKAY FOR US ALL)

Predicting the internet in 1909

2010-05-16T12:56:00.005-04:00

Everyone needs to read this short story that predicted the internet, virtual reality, and the prevalence of secondhand information. EM Forster "The Machine Stops" 1909.

http://archive.ncsa.illinois.edu/prajlich/forster.html

Then the latest NY Times on Facebook

http://www.nytimes.com/2010/05/16/business/16digi.html?hp

In response to the Denman, congratulations everyone!

2010-05-13T21:44:00.000-04:00

Go Necronauts go!

super secret surprise birthday party!!!

2010-05-08T10:05:00.001-04:00

come to my house tonight. 1196 Highland st, 43201

do it!!

Christiane Baumgartner

2010-05-02T12:58:00.001-04:00

THIS IS SO AWESOME. Also, Philagraphika has a blog. Who knew? I didn't.

mama bahama

2010-04-30T18:51:00.001-04:00

Rad Dog will no longer be at Hal and Al's so we're going to hounddog's instead. then probably to skully's for reggae music night. sunday 6-9 come!

Simulacra and Simulation

2010-04-29T23:44:00.005-04:00

Wow, we've come to simulating walking on the floor. Is this "hyper-reality" or just silly?

Haptic Flooring: Augmented Reality

Artist Tortures Self For Art

2010-04-29T21:22:00.007-04:00

blake

2010-04-26T21:31:00.002-04:00

mama bahama

2010-04-26T21:22:00.002-04:00

Hey guys, mama's home! gonna hang out at hal & al's this sunday so folks can find out what's up with her. She's pretty rad so come meet the gal who popped me out.

Hal & Al's

1297 Parsons ave

columbus, oh 43206

sunday may 2

6-9pm

beer and raddog!!!!!!!

Charlie

2010-04-24T14:52:00.000-04:00

Piero Manzoni

Josiah McElheny

Shannon

2010-04-23T20:19:00.003-04:00

OMG!!!!!

2010-04-19T23:06:00.000-04:00

2010-04-18T20:04:00.000-04:00

Zorro Claws!

2010-04-16T18:07:00.000-04:00

SGC Philadelphia photos: day five

2010-04-15T11:13:00.004-04:00

More photos here.

SGC Philadelphia photos: day four

2010-04-15T11:06:00.005-04:00

Day five coming soon, it's a little crazy.

more photos here.

SGC Philadelphia photos: day three

2010-04-15T11:03:00.002-04:00

more photos here.

SGC Philadelphia photos: days one and two

2010-04-15T11:02:00.003-04:00

more photos here.

This new juggalo video is blowing my mind

2010-04-14T23:48:00.002-04:00

"Fuckin magnets... how do they work?"

SGC Demos

2010-04-14T00:05:00.002-04:00

http://www.temple.edu/tyler/printmaking/SGC2010.html

Here's a link to demos and panels that they filmed at the Tyler school of art at SGC. It might be nice for those who couldn't make it, or for those of us that did and want to drool and cry over how nice their studio spaces are. Maybe I should have filed this under links, but I feel like if I did that no one would have checked for it.
Happy Printing.

I thought claws might enjoy this!!!!

2010-04-09T19:32:00.000-04:00

Telephonic Sheep — by Jean-Luc Cornec

2010-04-09T15:04:00.000-04:00

NEWS FLASH.

2010-04-05T22:39:00.001-04:00

SHANNON DID NOT LOSE HER KITTEN UMBRELLA IN PHILLY.

THANK GODS.

CRISIS AVERTED.

Subject: Evan D. Summer sent you a message

2010-04-03T00:58:00.000-04:00

Subject: Cat Village
I think for the next SGC there should be a portfolio with the theme CAT VILLAGE. I've never been there but the name just makes images come into my mind.

STRETCH!

2010-04-02T16:48:00.002-04:00

Always busy

2010-03-30T14:23:00.000-04:00

Just thought you'd like to know what I've been doing the past few weeks. This is a video that I submitted in a contest. The contest was titled "u @ 50" by AARP. It won second place. When they showed it, everyone in the room was awe-struck and broke into spontaneous applause. So simple and yet so brilliant. Take a minute and watch it. The little girl was a Dickens to work with, but we got it done.
Always inspiring -claws

MEETING

2010-03-29T15:36:00.002-04:00

The SPA will be meeting Wednesday at 11:30 following Intaglio to discuss this quarter's events. We'll most likely be setting the date for the monotype workshop, so show up if you want to have a say in when it is. We'll also be talking guest speakers and a few other things. This shouldn't last too long, probably 10-15 minutes.
In other news, if you are an Undergrad and are doing the Denman Research Forum, abstracts are due this Friday. They must be 150-300 words, and should be given to Charles before Friday for approval. Also, the Undergrad Show is accepting work this Thursday. Go get a form in the office and drop your work off Thursday 10-6. Do it because you might win money.

ITS TIME TO GET BOOZY

2010-03-15T13:31:00.002-04:00

FRIDAY AT SAINT JAMES (http://www.stjamestavern.com/)

COME DRINK AND DISH, with the department.

come out around nine/nine-thirty.

Hope to see you there.

Image

2010-03-14T09:28:00.001-04:00

Sometimes I feel as if I could reach into a pile of photographs and that any single one I pull will in some way relate to myself. With that in mind,...

2010-03-14T09:18:00.004-04:00

Danielle's images

2010-03-14T09:10:00.004-04:00

untitled

2010-03-14T09:00:00.005-04:00

My recent works are greatly influenced by Jungian psychology and its relation to spiritual mysticism. Throughout the past few months, I've been less restrictive on my of stream of consciousness, and I've been drawing a lot from Breton's model of surrealistic living. I've been doing automatic writings and automatic drawings. This very writing was done in such a manner. I've been exploring the removal of structured thought, and even structured living. Much of the work I've created is a direct result of these explorations. By subverting the logical, rational, conscious mind, I'm letting the contents of my subconsciousness spill out into view. It is thought that there is a greater connectivity to the deeper levels of consciousness among people, and also among nature. This collective unconsciousness works through synchronicity allow for greater, deeper connections to be made with the natural environment, with one's self, and with other people. Some of the images I've created are portions from dreams, others are impromptu drawings. By using these methods applied to art making, I've found it easier to say many things at once in a piece in a very simple way. It also seems that my work is affecting a viewer in ways that I would like it to. The images given are representative of some of my greatest influences at this point in time.

Night and the Madman

2010-03-14T08:54:00.002-04:00

"I am like thee, O, Night, dark and naked; I walk on the flaming path which is above my day-dreams, and whenever my foot touches earth a giant oaktree comes forth."

"Nay, thou art not like me, O, Madman, for thou still lookest backward to see how large a foot-print thou leavest on the sand."

"I am like thee, O, Night, silent and deep; and in the heart of my loneliness lies a Goddess in child-bed; and in him who is being born Heaven touches Hell."

"Nay, thou art not like me, O, Madman, for thou shudderest yet before pain, and the song of the abyss terrifies thee."

"I am like thee, O, Night, wild and terrible; for my ears are crowded with cries of conquered nations and sighs for forgotten lands."

"Nay, thou art not like me, O, Madman, for thou still takest thy little-self for a comrade, and with thy monster-self thou canst not be friend."

"I am like thee, O, Night, cruel and awful; for my bosom is lit by burning ships at sea, and my lips are wet with blood of slain warriors."

"Nay, thou art not like me, O, Madman; for the desire for a sister-spirit is yet upon thee, and thou hast not become a law unto thyself."

"I am like thee, O, Night, joyous and glad; for he who dwells in my shadow is now drunk with virgin wine, and she who follows me is sinning mirthfully."

"Nay, thou art not like me, O, Madman, for thy soul is wrapped in the veil of seven folds and thou holdest not thy heart in thine hand."

"I am like thee, O, Night, patient and passionate; for in my breast a thousand dead lovers are buried in shrouds of withered kisses."

"Yea, Madman, art thou like me? Art thou like me? And canst thou ride the tempest as a steed, and grasp the lightning as a sword?"

"Like thee, O, Night, like thee, mighty and high, and my throne is built upon heaps of fallen Gods; and before me too pass the days to kiss the hem of my garment but never to gaze at my face."

"Art thou like me, child of my darkest heart? And dost thou think my untamed thoughts and speak my vast language?"

"Yea, we are twin brothers, O, Night; for thou revealest space and I reveal my soul."

2010-03-14T08:44:00.005-04:00

My work this quarter is a series of portraits. They utilize a variety of methods but they carry with them a single visual similarity, the presence of a head shape. It was a personal challenge to myself to use this shape as a clear designator that this series of images were portraits, and at the same time to see how many different ways I could use this shape.

Some images that influence my own work appear with this writing. The first image is a two-panel image from a video by Krystof Wodiczko, who projects video onto large buildings. The projections are usually political or controversial in nature, in this case, victims of sexual abuse in Tijuana bare their souls as they tell their stories to the world on an architectural canvas. The element I appreciate here is the story telling, the expression of an individual’s personal story of pain and triumph. The next image is by Barbara Kruger, entitled “Your Body is a Battleground.” I appreciate her ability to re-appropriate images by adding text to existing images to use them against their original intent. I like the idea of finding images, and then modifying them to make them my own and create a symbolism with them. The next piece is a collection of simple logos, a few of my favorites. More than one classmate has commented this quarter that some of my imagery has a logo-like appeal. These logos in particular I like because they each have a quality of simplicity to them, but at the same time also have a clever twist created by repetition or negative space. The fourth image is Andre eDrain’s, “Charing Cross Bridge, London.” I never used to like Fauvism until I learned what it was about, which was in part, an experimentation with color and the emotional response that it can evoke. These artists in this movement also used simple shapes in combination with their wild color choices. The final image is from a lesser known 20th century French “ism” movement, called Orphism. This is Robert Delaunay’s, “Red Eiffel Tower.” I appreciate this image not only for it’s color use, but also it’s calculated design, and the heavy use of basic shapes and strong lines to create this image. Elements of all these images appear in my own work in various ways, however not typically to the extremes that the artists I have chosen have.

The images that I have created are all portraits, and they are all of friends who I spend time thinking about. Not all of them are doing well, and these images express to me emotions that sometimes words cannot. One of these pieces is also a self-portrait, which was discussed in an earlier critique. This piece is comprised of fortune cookie fortunes, which create a negative space shape of the head, which has inside of it two paths, blue and red, like veins which wind around inside the head. The fortunes represent wisdom that comes from many sources, and the two paths suggest that there are sometimes more than one good choice, and decisions can be difficult, especially when there is much wisdom in our world to choose from to help guide us. The first piece I began working on has the smooth curvy blue arrows leaving the head shape, while arrows of varying hard edges filled with red and yellow dots strike the outer surface of the head. This image utilizes logo-like shapes and strong lines to create negative space that is critical to interpreting the image. In this portrait, a friend is overwhelmed by the stress of a painful divorce which attack his mind but do not penetrate. Instead, the graciousness and kindness of a selfless man move outside his mind to help others amidst his own life turmoil. My next piece shows the iconic head shape filled with the colors and shapes of tree stump rings, surrounded by circles of varying shades of green that grow darker and larger the further they are from the head. This image uses bright colors and shapes to create a symbolism about my friend who has difficulty trusting anyone, including me. This friend loves trees and forestry, so the colors and shapes here are in part a tribute to him and his interests. The rings are my hope for his growth in his ability to trust people, not just internally, but to outwardly display it. The green circles are like an aerial view of a forest, dense with icons of trees, which create a maze of layers that symbolize the complexities of getting to know him and earning his trust. The next image contains a series of found images, stitched together and given power through color and symbolism. The head shape appears in the shadow of a dense and dark vine ivy, while a hand drops a pair of scissors. This friend is deluded into thinking that he is never wrong. And while he realizes that his pride blinds him like the vine that has overtaken his face and makes him a difficult person to enjoy being around, he cannot bring himself to admit his wrongs. So in response he drops the scissors, realizing the answer to freedom is too difficult, and choosing his pride instead because it is all he knows, and is therefore more comfortable to him than the love of his friends. The final image also contains re-appropriated found images, and is all black ink, with the small exception of a blue eye image center. The background is rough and ugly, while the head shape displays the large open eye gazing over two women’s faces with their eyes closed. This friend is a womanizer and an addict. He knows that he needs help, but he won’t go and get it. I hate the way that he views women, and he is hurting them and himself in the way that he treats them. His watching oversized eye looms over the women who cannot see him. His addiction is ugly, dark and evil. The eye is blue because there is yet a glimmer of color, light, and hope for him if only he will get help, and close his eyes to participating in the destruction of women, and his own soul.

With respect to the found images of influence, they relate to my own art in that they utilize the design elements of shape, color, and lines to create imagery that speaks about my own relationships. These images are stories, not about circumstances and experiences, but about these people that I care deeply about, it is the story of the condition of their souls.

It really is all about me...

2010-03-14T06:16:00.007-04:00

I have come to realize that my current works are perhaps manifestations of how I currently view myself and not so much about the picture itself. Although, in both aspects, I realized that the child in the photo is not in control of the situation she is in, and perhaps that is an expression of how I presently feel. I try to take every opportunity to do the best I can, but realized just how difficult I find it to articulate or actually allow myself to focus on things that I conditioned myself to believe I am not good at. In turn, those thoughts lead me to think that I surround my life with barriers or even veils. Then, I realized that those same barriers and veils always seem to find a way into my work. I work intuitively for the most part. This does not mean that I do not know what I am doing. I do have a starting idea and I let that idea flow, and I make choice to add or subtract what I believe should be added or subtracted. During these processes of addition and subtraction I do recognize that things seem to manifest themselves, but this is because of the choices I have made. This quarter my work has dealt with childhood imagery. The dot patterns in my work are like the patterns that make up our memories. These patterns are distorted and reside on different planes, and provide an image that is true and yet not true in its translucency. The images are from the past, but my memories are from the present. Therefore, these are images representing who I am now, as opposed to who I was then. Of course, who I was then plays a part in who I am now. The undefined spaces between the two are those barriers and veils that seem to manipulate the present. Many of the images have varying colored dots that seem to be symbolic of different feelings, but I feel I need to further investigate if perhaps, for example, red=danger, and blue=tranquility. Some of the memories are very fragile and in these I intentionally leave all layers undefined, where they all seem to meld into each other. These also usually deal with loved ones and the idea that all things fade out and cease to exist. I believe that my work will always be inspired by my life and how my psychological make-up causes me to view things in my perspective, through my bubble, of course. I am trying to view the work from a different perspective, but realize that I still view it through my attachment to the positive and negative thoughts that I seem to constantly create, rather than viewing it from a detached point of view. I am not sure if I will ever be capable of detaching myself from my work.
I suppose I am still dealing with the exploration of the self, but perhaps I would like to view myself and the world around me from a detached point of view, or perhaps, I just need to accept that I will always view the world in this manner and should just acknowledge it for what it is. Overall, It seems I am exploring the barriers that I have created.

The pictures I decided to upload are just images that I seem to always go back to. I do love bubbles.

2010-03-14T05:53:00.002-04:00

Technology speeds up the pace of our lives whether we want it to or not. I have a problem when individuals/groups say it makes our lives better. In fact is makes our lives more complicated. In the work environment technology abstracts jobs, takes thought away from workers, and completes tasks faster in order to produce more products. The high volume of products is then purchased by the consumer, who has to do mindless activity to earn money to buy them. My work is a representation of me, a person that works hard everyday with his hands. Both in the studio, and a the job that funds my endeavors. I enjoy this aspect of my life, but what I do not enjoy is my quest for material items. I asked myself what starts the process, the object, or the money to buy the object. (pardon the Chicken/egg problem) I decided it was the created need for money, the idea that money runs everything. I've found I live a life of little satisfaction, what satisfaction still survives comes at home and in the studio. The constant stain for cash, the this object we need to survive, takes all satisfaction out of life. Workers don't work because they enjoy standing next to a giant wired mass, with buttons, lights, and bells, they work because they need money. What if started to take it back? What if I earned my money and kept it? appropriating it for a better cause.

der besser Mensch

2010-03-14T04:11:00.003-04:00

I have learned a lot of valuable information about myself this quarter. I feel that this class has helped me gain knowledge about myself as an artist, and it has helped me to learn more about myself, as a person. I have gained a high sense of comfort with the class as a whole, which I find rare in a lot of my personal social situations/interactions; and I am somewhat disappointed in myself for not “opening-up” to others sooner. I have learned that my artwork is very much like a look into my life. I seem to create things that reflect what I am constantly thinking about from day to day.
Taking my fourth and final German class this quarter, I also felt I was quite inspired to learn more about German artists and their culture as a whole. My grandfather was a an amazing person, and one of the only people in my life, who really listened to me. I often find myself comparing myself to him, and trying to emulate him, because I feel that I am lacking qualities that my Opa valued (leadership, hard-worker, communication). I have learned recently about German artists such as Gregor Schneider, Gerhard Richter, and Anselm Kiefer, and did a research report on them for my German class. I was quite intrigued at how much their works were related ( themes, aesthetic, etc.), I also found it interesting that they seemed to find interest in somewhat plain things. I have noticed nearly my whole life, that I believe in Richter’s idea of “ die Schonheit der Normal,” or “the beauty of the ordinary.”