Hi Sculpture/3D students,
Here is an update on the rescheduling of events:
The deadline for entries to the student show has been pushed back to THIS Friday at noon and that the France Scully Osterman lecture has been rescheduled for Monday March 17 at 7 pm.
Enjoy your daze in the snow.
LINK TO SUBMISSION FORM: http://www.apsu.edu/sites/apsu.edu/files/art/INFOSHEET.pdf
A set of interacting or interdependent components forming an integrated whole.
• Systems have a structure defined by their individual components; these
components dictate the composition of the whole.
• Systems have interconnectivity; the various parts of a system have
functional as well as structural relationships to one another.
• Systems often have a set of rules that govern structure (how it comes
together) and behavior
Example:Lee Walton’s sports-based drawings: http://www.leewalton.com/work/drawings/index.html
Jon Satrom undermines interfaces, problematizes presets, and bends data. He spends his days fixing things and making things work. He spends his evenings breaking things and searching for the unique blips inherent to the systems he explores and exploits.
By over-clocking everyday digital tools, Satrom kludges abandonware, funware, necroware, and artware into extended-dirty-glitchy-systems for performance, execution, and collaboration.
His time-based works have been enjoyed on screens of all sizes; his Prepared Desktop has been performed in many localizations. Satrom organizes, develops, and performs with I ♥ PRESETS, poxparty, GLI.TC/H, in addition to other initiatives with talented dirty new-media comrades.
- See more at: http://jonsatrom.com/#sthash.RRdefTuq.dpuf
The Question of Craft:
- How do we critique work that lacks evidence of technical skill involved in it’s making?
- Can a work that is the product of weeks of skilled labor be judged by the same standards as the one that is a result of a five-minute Internet search?
- Is there a special virtue infused into a work that is labor-intensive, or is the time one puts into a work more than just the hours clocked into the studio?
- Is the physical activity of making a work the only consideration, or is the artist’s total experience of observing, thinking, and gathering also valid?
- Can a work be so conceptually engaging that who made it and how become irrelevant questions?
Marcel Duchamp claimed that a ready-made object becomes art merely by a change in context (ex. from baseball field to art gallery). It was art because he declared it to be.
But the bigger question could be….is taking as valid as making?
The notion of authenticity is attached to the idea that things hold within themselves the history of actions made on them. Objects that show signs of physical engagement communicate this history- whether the actions of an artist or of nature, such as stones that have been slowly polished by running water. Their qualities are a direct result of what has happened to them over time. If an object comes into existence through discipline and labor (and that labor is immediately evident), it earns value.
For example: Walter Benjamin’s concept of aura in The Work of Art in the Age of Mechanical Reproduction (benjamin-work-of-art.pdf). He cites the object as a container of memory: where it’s been, who has touched it, what gave it form.
Thus, found objects, ready-mades, and appropriated images also bring with them a kind of history. Many carry rich associations of their original life in the world. Even new objects make reference to the mass production that is so much a part of our lives.
The Question of Originality:
The high value we place on originality is founded in the humanist assumption that we are whole, autonomous beings, capable of having original ideas. [Is this true? Is there such a thing as free will?]
Since the 1960s Post-Structuralism has questioned this assumption. Can I really be an autonomous source of meaning? Or am I constructed in language? In other words, do I use language or does language use me? Is there really a “me” in there? What is the relationship of my “self” to language, class, culture, gender, race, or sexual identity? And if I’m not an autonomous, transcendental subject, capable of creating meaning, then no one else is either…or has ever been.
This means that none of our cultural heritage, no art, no books, no music – is really original, and I can argue, therefore, that such received artifacts of culture do not actually belong to anyone. My work, then, may not be about calling forth my “inner self” so much as rearranging things that I receive- images, words, sounds, objects – changing their contexts and thereby changing their meanings.
In the book “Why Art Cannot be Taught” James Elkins describes different types of critique orientations based on an account by M.H. Abrams:
Mimetic: how closely does the work imitate nature/represents something in the world? This type of crit focuses on skill.
Pragmatic: designed to help the student please, delight, move, or instruct. how well are you communicating? entertaining? (is that even the goal?)
Expressive: does the work express the artist’s impulse or feeling (internal)? (this type of critique no longer relies on the audience or external world).
Objective: an attempt to focus the critique on the object itself, independent from the outside world (note: this is impossible).
Usually, most art critiques focus on all four of these orientations simultaneously.
3 stages to a critique:
1. Recognition Stage: 5-10 minutes at the beginning. time to see and “take-in” the work, to find the right angle for viewing, to feel and hear it.
2. First-Impression Stage: where the obvious is stated and initial impressions are voiced by the group.
3. Analysis Stage: where more difficult questions/criticisms are brought to light. Sometimes answered by the artist, sometimes not.
A format for the constructive participation in a critique of someone else’s work:
Judgement: A statement made by you about your opinion of a classmate’s artwork
Reason: A justification for your judgement.
Assumption: The (usually) unexamined or unrecognized principle behind the judgement
Axiom: The general truth that supports the assumption.
Dialogue Example: Unexamined Assumptions
A. “I think this film has too much playfulness about it, it’s goofy”
B. “Why is that bad?”
A. “Well, because it starts out seriously, then ends up careless.”
B. “Why is it bad for a work to start out serious and end up silly?”
A. “I think the work promises to take itself seriously in the beginning and then ends up flippant”
Teacher: “So does that make you distrust the artist’s intentions?”
A. Yes, I suppose so.
The unexamined assumption in this exchange “A film like this should not be devious.” It could also be any combination of:
- Any film should not be devious
- Any work of art should not be devious
- This one film should not be devious (in this way)
- Any work of art should not be devious (in this way)
Or other underlying assumption could be, “A work of art should not hide it’s intentions.” or (a more personal version) “A work of art like this is bad if it succeeds in tricking me”
Statement Example: Axiom (a difficult to argue “truth” that can be used to justify assumptions)
“Sculpture should deal with space.”
Conrad Bakker makes carved and painted sculptures of everyday objects and places them in consumer contexts or gallery exhibitions to reveal and critically comment upon the political economies and relational networks between persons and things.
Creative Capital supports innovative and adventurous artists across the country through funding, counsel and career development services. Our pioneering approach—inspired by venture-capital principles—helps artists working in all creative disciplines realize their visions and build sustainable practices. Creative Capital provides each funded project with up to $50,000 in direct funding and career development services valued at $40,000, for a total commitment of up to $90,000 per project.
Since 1999, we have committed $29 million in financial and advisory support to 418 projects representing 529 artists, and our Professional Development Program has reached 6,500 artists in more than 275 communities.
Areas of Evaluation: When thinking about the project, consider the set-up, display, and arrangement as well.
Concentration/Perseverance – Describe your “journey with Negative Space Still Life” from start to finish. Give us an example of a high point and a low point within the project. On a scale from 1-5, did you accomplish the goals you set for yourself? Did you persevere? Consider both technical and conceptual improvement.(Describe examples of both).
Creative Problem Solving – Describe your ability to overcome specific obstacles that you encountered within the process. Give examples of the initial encounter with the obstacle and how you overcame it. There should be at least one technical obstacle and one conceptual obstacle. (Examples)
Craftsmanship – Describe the role of craftsmanship in your process. How concerned were you with perfection? Did you find yourself having to choose between overall quality and your ability to finish the assignment? What is the difference between craftsmanship and material sensitivity?
-What was the objective? Did it meet the assignment?
-What are you trying to communicate?
-How did the intention evolve? Is the intention important to know?
-Why is this made? What is the meaning and the point of view?-What was the inspiration/motivation?
-Why did you choose the medium/s that you worked with?
-What response did you want to evoke in the viewer?
-What was the process of making the work?
-What could be improved?
-Is the work finished?
-How do you feel about the craftsmanship and design?
-What/who influences this work?
-What does this say about the artist (you)?
-What did you learn from this + how? What was most difficult about this assignment?
-How does this project relate to the evolving concepts of this class?
The artist’s website:http://williampowhida.com/wordpress/