Wednesday, November 10, 2010
Graphite on Paper
Curated by René Treviño
November 12-December 31, 2010
Opening reception, November 12, 2010, 6 to 9pm
A group exhibition of artists who employ graphite on paper in their practice, this exhibit will be a celebration of drawing. Since this show is using Graphite on Paper as it’s thematic current, preliminary drawings, sketchbooks, doodles as well as refined and “finished” works will be included. Matted and framed work under glass will hang beside sculptural work, video pieces and drawings that are thumb tacked to the walls. Graphite and paper are merely the starting point. The goal is an exhibit that has a wide breadth of approaches to the materials…humble materials that everyone has a basic understanding of, but materials that hold infinite possibilities.
Michelle La Perriere
Saturday, May 8, 2010
Monday, April 26, 2010
Monday, April 19, 2010
Sunday, April 18, 2010
Tuesday, April 13, 2010
Wednesday, April 7, 2010
Tuesday, April 6, 2010
Thursday, April 1, 2010
A Complex Weave:
Women and Identity in Contemporary Arts Symposium
with Keynote Speaker Eleanor Heartney
Friday, April 9
Center for the Arts Lecture Hall Room 2032
Friday, April 9, 1:30 p.m. – 5 p.m.
Eleanor Heartney is a contributing editor to Art in America and Artpress and author of numerous articles and books on contemporary art, including After the Revolution: Women who Transformed Contemporary Art (co-author) and Art and Today. She has written for many major art publications including Art News, the New Art Examiner, Sculpture, the Washington Post, and the New York Times. She received the College Art Association’s Frank Jewett Mather Award for distinction in art criticism in 1992 and was honored by the French government as a Chevalier dans l’Ordre des Arts et des Lettres in 2008. Other speakers at the symposium will be artists whose work can be viewed in the Complex Weave exhibition, including Blanka Amezkua, Helène Aylon, Siona Benjamin, and Sonya Clark.
Admission is free.
Also, the Bromo-Seltzer Tower is having its open studios on Saturday - more info to come.
Wednesday, March 31, 2010
Sunday, March 28, 2010
These two Dutch guys operate in the art/craft area, and I like what they do. They work as avant-guarde designers that get rid of comfort as a design principle. See the review by Blake Gopnik in the Washington Post. http://www.washingtonpost.com/wp-dyn/content/article/2010/03/24/AR2010032403318.html
"Magic Eye and Johns Hopkins University are pleased to host an evening of film and conversation with acclaimed experimental filmmaker Phil Solomon.
'Although part of a long avant-garde tradition, Mr. Solomon makes films that look like no others I've seen. The conceit of the filmmaker as auteur has rarely been more appropriate or defensible — The liberating effect of Mr. Solomon's work suggests a rather different realm: Film Meets Vision, Rejoice!' – Manolha Dargis, New York Times
The screening will include excerpts from his installation at the Corcoran Gallery of Art “American Falls” and a selection of his films and videos, including “Remains To Be Seen” which Stan Brakhage named as one of his Top Ten Films of All Time for Sight and Sound magazine.
Solomon’s film work employs an array of chemical and optical treatments to explore the natural state of decay of 16mm film. The results produce a molten emulsion unique to his cinema, a visually mesmerizing struggle between a captured image and the materiality of the medium.
His recent video series called “In Memoriam, Mark Lapore” operates in the genre of machinima. Appropriating scenes from the lawless world of Grand Theft Auto, Solomon quells the crime wave and creates a trance-like wandering through a desolate urban landscape. The trilogy, named as one of the Top Experimental Films of 2007 by the Village Voice, will close the evening’s program.
Phil Solomon teaches at University of Colorado – Boulder. He has participated in two Whitney Biennials and has had three Cineprobes (one-man shows) at the Museum of Modern Art. He has won a John Simon Guggenheim Memorial Fellowship (1993) and The Thatcher Hoffman Smith Award (2007), as well as grants from the National Endowment for the Arts and the Creative Capital Foundation."
Saturday, March 27, 2010
"Ouroboros, as the Greeks called the snake that eats its tail, has from ancient times been a symbol of cosmic unity and self-sufficiency."
Friday, March 26, 2010
Thursday, March 25, 2010
Wednesday, March 24, 2010
Table of Contents: Artists Who Make Books
In Conjunction with "Fresh Prints" at Open Space and the BMA Print Fair
Exhibition Runs: March 26th - April 9th
Opening Reception: Friday March 26th 7pm-10pm
H&H Building 3rd Floor / 405 W. Franklin Street / Baltimore, MD
Tuesday, March 23, 2010
Saturday, March 20, 2010
Sunday, March 14, 2010
Susan Lee-Chun invites Baltimore fitness fans to join her exciting new faux-real fitness program: “Everybody Suz-ercise!”
Susan Lee-Chun and her three selves—Sue, Sioux and Su (The Suz) are on a quest for ultimate happiness and fulfillment through contemporary fitness. Become part of the high mode, high performance team that presents Come on Baltimore, Let's Suz-ercise! outdoors in the Inner Harbor this June 23!
MARCH 18 6pm Conversation with The Suz 7pm Everybody Suz-ercise! A presentation by The Suz See what Suz-ercise is all about and how Together, we'll help you meet our immeasurable goals.
10am Suz-ercise Participant Orientation: Start on your path to becoming a Certified Suz-erciser. Get measured for your Suz-authentic workout gear. Learn how to train for the experience of your lifetime with The Suz on June 23, 2010.
June 23 6pm at Baltimore's Inner Harbor: Come on Baltimore, Letʼs Suz-ercise!
Info: TheSuzITsFauxReal or call 410 962 8565
Galleries and museums are, for all intents and purposes, standardized exhibition containers. The three multimedia works that comprise Michael Guidetti’s solo show ruminate on this form, each representing a discrete space used to show art. He sets down basic architectural frameworks in watercolor and effectively enlivens them with superimposed digital projections. Two of the works, Bounce Room 1 and Bounce Room 2 (all works 2009), depict modernist white-cube spaces overlaid with projected red, green, and blue blobs that ricochet against the depicted walls and ceilings. These elements are as playful and mesmerizing as a game of Pong, but they also highlight the infrastructure of projection technology—the RGB color model at the heart of most image production. Guidetti revels in stripping his subject down to its baseline, and while there’s the potential for tech gimmickry to overshadow the works, they’re ultimately more meditative than whimsical, each projecting viewers into dollhouse discotheques. His Untitled is a more earnest and provocative work, referencing a Romanesque gallery with coffered ceiling and windows that seemingly overlook the sea, the whole setting a heavenly, hallowed milieu. In it are pedestals displaying Asian-looking artifacts—a Buddha statue, a teapot, and animal figures. The latter images are purplish projections, apparitions that subtly flicker. Gathered from open-source 3-D scans of artworks (among the first digital copies ever made), the computer-enhanced renderings progress through a slow, looped cycle from day to night. It’s an idealized, digital simulacrum—with pixelated edges showing. As installed in the cozy dimensions of Jancar Jones, which is not much bigger than a closet, the works are set within a near version of themselves—and it’s the kind of metagesture that seals the self-reflexive deal.
— Glen Helfand
watch this video
Saturday, March 13, 2010
Peter Schjedahl's take on the Dakis Joannou collection/Jeff Koons curated show at the New Museum in the New Yorker magazine, March 15. He thinks the exhibit is agressive and great, but he also addresses the larger social context in which this takes place, namely the mega collectors of "abominable wealth" intermingling with the relatively poor (except for the Jeff Koonses of the world) artist class. If art reflects society, for which I think is a pretty powerful argument, isn't there a kind of poseur mentality in the "noblesse oblige laced with a left-libertarian raciness" which characterizes the nexus of art stars with the aristocracy of wealth and social clout in the context of a society struggling with foreclosures and economic depression? See http://www.newyorker.com/online/multimedia/2010/03/15/100315_audioslideshow_dakisjoannou
Thursday, March 11, 2010
Wednesday, March 10, 2010
The Library of Unread Books
For over 10 years, Julius Deutschbauer has collected hundreds of books, all of which have a single characteristic in common: their owners would have liked to have read them, but never fulfilled their good intentions. Shown as part of Philagrafika 2010: The Graphic Unconscious, The Library of Unread Books explores the idea that today the number of books that are not read far exceeds the number that are.
The Print Center invites you to add your unread book to our growing collection. Just add it to our bookcase on the second floor and fill out the survey provided. At the end of the exhibition, the Library will travel to the Austrian Cultural Forum in New York City.
In addition, Deutschbauer will be in residence at The Print Center from April 6 - 11 interviewing participants about their unread book. Please contact John Caperton, Curator at 215-735-6090 x3 or firstname.lastname@example.org if you would like to schedule an interview with the artist.
Monday, March 8, 2010
Saturday, March 6, 2010
Wednesday, March 3, 2010
I'm headed to NYC this weekend, because there is a hell of a lot of good, temporary stuff going on:
The Whitney Biennial:
The Armory Show
Scope Art Fair
This is just a sampling: the latter three are only this weekend! Highly recommended.
Also, remember to look back at the list I posted for visiting artists (a few weeks back, here). Alexa Brooks will be visiting tomorrow, so those of you who have studio visits with her will want to be prepared.
See you soon,
Tuesday, March 2, 2010
Monday, March 1, 2010
Sunday, February 28, 2010
Friday, February 26, 2010
Hope to see you all there!
Thursday, February 25, 2010
Click here for event details posted on Facebook.
My entry is called "Peaceful Being" and his special power is "Can quiet mind at will":
Tuesday, February 23, 2010
Monday, February 22, 2010
Congratulations, also, to Maggie for an absolutely stunning MFA exhibition! I overheard a great deal of very positive response from visitors as I made my own way through the work. And already some great coverage on Bmore Arts!
For this week, we will be getting started with the visiting artists agenda for the semester. Paul Jeanes will be our first visitor. As you all know, we did signups last week. (Chip, I've added you to the schedule.) What follows are the results of that; make note, and feel free to discuss with eachother if you'd like to swap. Crits should last about 20min, and everyone gets two.
February 25 - Paul Jeanes
Crits: Criselle, RuSean, Liz, Jae Yeon, Steven
March 4 - Alexa Brooks
Crits: Marie, Maggie, Juan, Adam, Mike
March 11 - Rene Trevino
Crits: Steven, Jae Yeon, Mike, Michelle, Amy, Maggie
April 8 - Tanya Ziniewicz
Crits: Adam, Juan, Marie, Rob, Amy, Chip
April 15 - Dane Nester
Crits: Criselle, Liz, Rob, RuSean, Michelle, Chip
Sunday, February 21, 2010
Mike Kelley, "Educational Complex,"
Open Enrollment, the newest weekly column on the Art21 Blog,chronicles the experience of graduate school via the perspective of current students. As MA and MFA degrees become ever more the norm for the professional training of artists, educators, and administrators alike,Open Enrollment functions as a time-sensitive journal, offering readers a birds-eye-view of the challenges, rewards, puzzles, and ontological questioning that a graduate education engenders.
Each semester, a selective and diverse group of students (6 max) from accredited graduate programs, as well as students studying at non-traditional institutions (temporary schools, artist’s educational projects, intensive residency programs, etc.), will take up residence on the Art21 Blog. The roster of contributors will grow over time, providing a cross-section of international venues and pedagogical approaches. While chronicling one’s own practice is encouraged in the context of larger concerns, this column is not a forum or vehicle for narrowly promoting one’s own work. It is intended to portray, through both personal examples and larger inquiries about the pursuit of higher education, the diversity of studio and critical academic experiences in art school today.
Friday, February 19, 2010
Deadline: received by midnight, March 1, 2010.
Hood College is seeking applications for solo/two-person/group exhibitions during the 2011-2012 seasons. It is preferred that the artist(s) be present at the gallery for
installation/de-installation, and required for the reception. At this time, the gallery is not equipped for new media/technology/performance based work. Most other media welcome.
Hood College will accept proposals for exhibitions from curators. Please provide images with a detailed proposal, as well as a bio/resume from the curator(s) and each of the artists.
Please send bio, resume, 20 images of recent work on CD (jpg, 300dpi,
6x9inches) and image list to:
Hood College: Tatem Arts Center
401 Rosemont Avenue
Frederick, MD 21701
No entry fee.
Wednesday, February 17, 2010
15 Things an Artist Should Never Say.
Being a successful artist takes hard work, patience and good networking skills. It is not enough to simply have talent. Your success will magnified by your ability to socialize, reach business goals, and manage projects. Does that sound a little overwhelming? Here are some tips that you can take one at a time. Let’s start with what an artist should never say…
#15 “I can’t do that”
Say a friend wants to commission you. They propose a work of art that is not your typical style or medium. The last thing you want to do is to flat out refuse them. You have some options:
• Learn what ever skill you lack to do the piece. • Take the opportunity to educate them about your work to see if they might want something closer to what you do (but don’t be dogmatic). • Hire someone to fabricate what ever it is that you can’t. • Propose another work of art that will give them what you both want.
#14 Never say yes to a hard deadline on the spot.
Whether it is a commission or a gallery show, a commitment is to be taken seriously. The gallery or collector will be planning around the finished work. The last thing you want to do is inconvenience them. Before setting a hard deadline, make sure you have enough time to complete the project.
#13 “I can’t afford to make art”
Artists over centuries have always found a way to make art…for nothing. Think of the cave painters, their art did not cost money. Yes, some art costs money to make, but it does not have to. You may even have things lying around your house with which you can make your next masterpiece.
#12 “I didn’t go to ‘X’ school, so I’ll never make it as an artist.”
Now that is just a cop out! If your work is good enough, it will find its way. A good art school is worth it but not everyone that went to Yale is making millions from their art.
#11 “Never Be Silent…”
…when you should be promoting your work. Simply open your mouth. Invite the curator you met at the last opening for a studio visit. This is the way the art world turns.
#10 Never say you will do it… when you won’t.
This is the most obvious suggestion, but also the one we mess up on the most. Don’t agree to something that you cannot or are not willing to do for what ever reason.
#9 “Never indulge in self-depreciating comments”
If someone asks you about your work say something that will interest them and invite more questions. Do not say anything negative or incredibly boring about your work or career.
#8 Never “dis” the competition.
it’s a very small world and you just never know. Do your best to be gracious and have something good to say about your fellow artists. Having said that, if your opinion is called for, be honest about what you see in the work.
#7 “I’m too old”
Matisse made art work into his 90’s even while sight impaired.
#6 “I’m too busy to go out and network.”
You can only say this phrase if you are rich and famous. If you are not, how else are you going to get there? Like it or not, networking is your job.
#5 “You can have it”
#5 “You can have it”
Never give your work away. If someone is interested in buying but the price Is little steep, offer to discount it 10% or 20%. The value you place on your work is an indication of how successful you feel.
Exception: Giving artwork as gifts or a trade with another artist is fine. In fact, it may help your career.
#4 “I’m an artist not a computer geek.”
Some use this excuse to not learn the necessary tools to promote your work in this day an age. Every artist needs to promote their work on the internet. You can do it!
#3 “I’m a failure because I’ve never sold”
Van Gogh only sold paintings to his brother while he was a alive.
you should never say “no” to a project out of fear of the challenge.
#1 “I’m an artist, not a business person.”
Sorry to tell you this, but you may be in the wrong profession if you want to make a living as an artist. All artists can benefit from business training. Contact your local art center to see if they have business classes for artists or get help from a mentor.
Tuesday, February 16, 2010
Friday, February 12, 2010
Thursday, February 11, 2010
The National Gallery of Art Sculpture Garden Ice Rink is now open through mid-March 2010, weather permitting. View magnificent works of sculpture while skating in the open air and enjoying music from the state-of-the-art sound system
Monday–Thursday, 10:00 a.m.–9:00 p.m.
Friday-Saturday, 10:00 a.m.–11:00 p.m.
Wednesday, February 10, 2010
You all no doubt got the emails regarding this, but campus is closed tomorrow, and Maggie's opening has been postponed until the following week. Therefore our next class meeting will be a week from tomorrow.
We will decide upon a visiting artist review format first thing, so think about what you'd prefer so that we can vote.
Good luck digging out!
http://jmcolberg.com/weblog/ ...more on traditional photography works, also reviews + commentary.
http://www.nodawakaba.com/work/making-a-map-2008/ ...Amy sent this artist to me! I particularly like this series, "Making a Map".
http://joellejensen.com/ ...I'm really drawn to her compositions, use of light, and color and the way they comment on the family home, memory, and isolation.
http://www.kategilmore.com ...Her videos are interesting + witty examples of endurance + performance.
Tuesday, February 9, 2010
Monday, February 8, 2010
Geodes can form in any cavity, but the term is usually reserved for more or less rounded formations in igneous and sedimentary rocks, while the more general term "vug" is applied to cavities in fissures and veins. They can form in gas bubbles in igneous rocks, such as vesicles in basaltic lavas, or as in the American Midwest, rounded cavities in sedimentary formations. After rock surrounding the cavity hardens, dissolved silicates and/or carbonates are deposited on the inside surface. Over time, this slow feed of mineral constituents from groundwater or hydrothermal solutions allows crystals to form inside the hollow chamber. Bedrock containing geodes eventually weathers and decomposes, leaving them present at the surface if they are composed of resistant material such as quartz.
Specifically: Midway: Message from the Gyre
Sunday, February 7, 2010
I make skeletons that are able to walk on the wind, so they don’t have to eat.
Here is a video with footage of his sculptures moving around:
Click here for his portfolio website: http://www.strandbeest.com/
As a side note: my girlfriend found this while using http://www.stumbleupon.com. If you haven't heard of or used StumbleUpon, spend a few minutes with it. It randomly (well, almost randomly) loads webpages and you vote whether it is of interest to you or not. Eventually it will show you websites that are more relevant to your personal interests. There is quite a bit of uninteresting content that will show up but every once in a while a great art or art-related website will appear.
Hey everyone - I hope you've dug out from the weekend! I'm stuck in Ohio until tomorrow after a harrowing 27 hour drive through the storm on Friday evening, but I'll be back tomorrow. It's a long story that I'll tell you about this week!
FANTASTIC posts so far. I'm really enjoying following up on everything everyone has to offer. As requested, I've granted you all admin status so you have the ability to make changes other than just posting.
Remember we'll meet next week at 6pm in our room, then proceed to the talk and Maggie's opening. Have your revised artist statements. I've typed up the notes from our earlier conversation, below:
-Shouldn't be either too specific or too vague
-One issue: how much to talk about materials? Perhaps more important when process especially important to understanding wok.
-Good to describe what work looks like as a way of getting at conceptual content (conceptual content tends to reveal itself through description.)
-Don't say: "My work is about...blah blah" (boring!)
-When to include influences? Could be useful as a frame of reference, if there is an interesting parallel, if the work is a response to other work - but avoid name-dropping! Also, it can seem presumptuous - or possibly could diminish significance of your own work, comparatively.
-Vocabulary: Consider the audience. Maybe different stylistic approaches (different statements) for different purposes.
-What is needed in an artist statement? - primarily, context: but nothing IN PARTICULAR is required. Don't feel beholden to include things, or to write in an academic way.
-Again, good to describe work as a way of getting at concept - don't just say "this is my concept..."
-Good to reveal insider info - something interesting backgrounding your work that sheds light on it, that might not have been suspected.
-Good to write a statement that includes information that will set you apart - or stylistically set you apart.
-Write about what's important TO YOU - don't be afraid to state opinions or make assertions.
-Make sure it's a GOOD piece of writing - doesn't have to sound academic.
-don't take anything about the parameters of the statement for granted - everything about it, it's content - it's stylistic approach - etc - can reveal something about you as an artist. But don't be cryptic!