meg - weekly drawing

Tdrawlng #3

Mia Rosenthal has really cool drawings at the PMA in the Here and Now show. These happen to be studies after Cole's Oxbow constructing the image by layering line drawings of all organisms that could be found at Oxbow in taxonomical fashion. She also has a drawing in the same show that documents each and every rice krispie to come out of a particular sample box of rice krispies. I find her sensibilities humorous and thoughtful.

Guillermo Kuitca

http://www.speronewestwater.com/cgi-bin/iowa/artists/record.html?record=6

A photo taken last week by Temple. I doctored the image slightly in photoshop to emphasize the multiple rainbows I could see but the camera could hardly capture. one of my first color photos standing as a work on its own.

past time weekly drawings- victoria

Michael D. Fay- Victoria

Officer Kay is an official Combat artist. He does drawings and paintings from what he has seen as well as photographs from serving in combat overseas. I do not have any drawings just yet my i will use soldiers i know for reference from my upcoming drawings. since I have yet to go to combat, My soldiers will be posed, and the pieces will have a soldiers and an object or several that saids something about soldier(s) in general. I won't be able to take the photographs until my drill weekend (this weekend) so here is just a drawing for the week

Here's a bunch of things from me, Derek Sammak.

Week #3

"Donrique" Derek Sammak (Digital Self-Portrait)



















Inspired by basically anything Jeff Koons is doing.

Week#2

"Holy Holy" Derek Sammak (Sound collage)

Beat I made inspired by Alan Ginsberg's poem "Holy"

Week #1

"Cluster" Derek Sammak (Digital Collage)

Watching a lot of Ryan Trecartin video's at the time. He's an absolute lunatic, love his work and visuals.Click his name for some videos.

Statement

My work deals with the re-sampling of printed images and recorded sound. I am interested in blurring the line between analog and digital processing.

I look to take forms that I’ve created and personalized (sketches, recordings, photographs, etc.) and merge them with public forms I consider expendable. I seek to keep the collaged surfaces ambiguous, having them all reach a uniform flatness.

I treat any move as good as the next, and make decisions in the moment rather than anticipate any future outcome.

Amy Sillman (Rebecca Tennenbaum)

I've been looking at Amy Sillman recently because of her approach to color and form. I like the combination of geometric shapes and hard edges with the general field work. I also enjoy her ability to create intimate moments within fields, through independent strokes of color and line.

Ayla -drawing 3

drawing Week 3- Kate

drawing Week 3- Kate

Elizabeth Peyton- Kate

Elizabeth Peyton is a painter who makes very stylized portraits of friends and celebrities. I saw her Ben Drawing at the Carnegie Museum in Pittsburgh, and I think her works have an intensely luminous and jewel-like quality that doesn't really come off in online photos. It's kind of like what would happen if Van Eyck was like "Whatever, bitches, I paint what I want!" and completely loosened up but kept some of the surface quality.

http://www.newmuseum.org/exhibitions/400
Above is a link to a write up of her New Museum show.

Rebecca Tennenbaum Weekly Drawing

Dave McKean

weekly drawing 3-danielle

Weekly Drawing and Artist for 9/28/11

Included in this posts are two works by Guillermo Kuitca (top two), an Argentinian artist who works with architectural themes in his paintings, often formatting the image in the way a floor plan is. The other is a recent work of mine from a series of somewhat systematic line drawings, which compile into web-like structures with varying densities.

Coming Up

This Thursday at Slought Foundation:

"Slought Foundation is pleased to announce "Film as object of study and as archive," an evening with Raymond Bellour and Christa Blümlinger on Thursday, September 29, 2011 from 6:30-8pm at Slought Foundation. Bellour will speak for 30 minutes on "Forty years of stopping moving images", followed by Blümlinger on "Archival Gestures," with a moderated conversation to follow. This program has been organized by Nora Alter, Professor of Film and Media Arts at Temple University."

Thursday, September 29, 2011; 6:30-8:00 pm
Slought Foundation
Free; reservation not required

Slought Foundation
4017 Walnut Street
Philadelphia, PA 19104-3513
Slought.org
Ph: 215.701.4627

edie nadelhaft

edie mirrors my interest in distinctly human subjects as a source of abstraction/ patterning. her subjects are handled in a loving, painterly way and seem to have varying sexual content.
website

poetics of space response

A house is at once an embodiment of both the fears and the daydreams of its inhabitants. The seemingly protective four walls allow the imagination to thrive in their midst. Every characteristic of the home, as well as the material possessions within it, create a unique space which condenses time non-linearly through a series of memories. Additionally, the home can serve as a refuge.

While embodying many positive forces like familiarity, intimacy, and protection, the home also represents primal fears and the invariable separation between inner and outer worlds. Bachelard uses the cellar as an example of the darkness in a home. In the cellar exclusively, darkness prevails both day and night. We're easily conditioned to distrust or be slightly mystified by such a space. Again, this is an example of how a home provides the material inspiration for the imagination to run wild.

Drawing #2 and Drawing # 3

Bachelard Response

For years, I understood that the day my grandfather died was only a memory of moments forged from shattered ideas in my head. Scenes ticked by in my head as frames depicting his last days and hours came together, which I believed only came from verbal stories my family had recited to me. When reading Bachelard’s text, I couldn’t help but fall into daydreams compiled of the time I found out I was wrong, and the visuals that engulfed me when I found myself missing Charlie were really mine. I realized I had never asked my parents what the hospital he was in looked like, or how things were situated, and what the last thing I fed him bedside was. When I described the brick walls and us standing in the parking lot as Charlie passed, everything lined up. What it means to have a true visual memory of and not a compiled one of a perhaps a morose, yet important day in my life, was important to me. Memories are futile, and they can be shifted so easily by whatever level of consciousness your inner workings choose. They can shift to make things seem better when you want them to, and they somehow can become fantasy. They are spawned by images of childhood and concealed. I am reminded of how important memories and daydreams are, and how blurry the line between them can be sometimes.

I would also like to bring up the notion of the attic versus the cellar. I find the dialectic between the two both metaphoric and symbolic of the nature of so many states of being. The general notion that is applied is one of conquering and the feeling of conquering. In the attic we conquer. It is only our presence that is needed, the faintest bit of identity to secure a place and feeling of authority and of being heard as well as being the commander. There is shelter from the birds’ eye view, a literal place of being on top of every other [floor] and physical and emotional state. The cellar represents the state of feeling conquered. We aren’t the ruler, and it isn’t even really a place that is comfortable for it is seemingly an unnaturally and weary place to be in. We are underneath everything, with the possibility that everything above us can cave in and we are crushed. I wonder what stands in the middle. The feeling of being on ground is one that leads to an emotional state of feeling grounded. I can see the verticality of the house representing a range of states and reactions, the psychology of our being, while the horizontality is the ending-axis on which the journey takes place.

meg - weekly drawing

The Poetics of Space – Gaston Bachelard - Brett

I found the reading engaging especially concerned with my work and the context that it fits in. The part about the stone house plant and it being the primordial shelter and the hut brings it all together for me. The house that I grew up in, no matter what good or bad happens there still is something that stands out in my mind and there are elements I bring wherever I go. The memories that are negative I have with my childhood home fade away giving a sense of familiarity to me that is now mirrored in my home (I live alone now as a “grown up”). How I organize space and the quirky little nuances that exist there are just some of the things I carried over to my future from the past. The “home” is always something I can go back to no matter how uncomfortable it makes me. I feel as though even though this home is our first universe and the first thing that we know, in a lot of ways trace elements of this travel with us through life. Our lives oddly mirror those of our family, although there is great potential to have the, “buck stop with me” some form of “home” or beginning always travels to the end, its up to the individual to decide weather that is going to be positive or negative.

Dave's thoughts on The Poetics of Space

In chapter one of the poetics of space I found the phenomenological reality in daydreaming, as it is connected to the house, to be agreeable in terms of its poetics and its ability to set one inside the constructs of a fixed space that no longer exists and is outside of a particular time framing. I agree that in my case, as is the case for many others that our childhood home is our “first universe.” However, I also believe there are other reasons one may find the notion of a universally existing place for protection of the I under the non-I to be questionable. Perhaps the time and place in which one finds a primitive space that fosters such daydreaming varies. Aren’t hospitals now the birthplace of many verses the home and don’t hospitals lack the same verticality mentioned to be lacking in cities? And what of those who to this day are born under simply a roof with perhaps one wall, corner-less? Places to daydream can also be unsheltered but just as solitary. Before a house is built isn’t the land surveyed, isn’t it plotted at the center of the landowners property so that it may be concealed there? A feral child shut in a room away from humanity is anything but a hermit and it takes less than a moment to understand why a feral child’s connection to said intimate space would foster a very different kind of daydream, as if the home were only a cellar.

I do all in all agree with idea that certain virtues can be retained through the most reductive recollection of a space so intimate. As well I agree that phenomenology provides us the ability poetically to relive “dual interests (or experiences) of man and things, at the same time that we neglect nothing of the anthropo-cosmic tissue of a human life.” Furthermore the house is much like that of man and can be seen as a metaphor man in jungian respects as well as poetic respects. And for me home is where the heart is or where you hang your hat and a house in the phenomenological sense is a place that can be found wherever you are, though it can be seen as its own entity it is also internalized to be awakened for reuse in the daydream.

sylvia sleigh

classical portraits of male nudes

Dave's methods (first week's assignment)

For me the studio exists somewhere between where I am at the current moment to where I am going or coming from. I find that the overwhelming amount of objects (fragmented in their meanings) that confront me daily while in transit become the fodder for which I am provided instances of critical discourse or further question. I believe that the material-objects should discover themselves in dialogue and should remain formally under constant considering notions of free play. As well I should also be cognizant of a constantly evolving concept to harness its positive limitations and gain a better understanding of its reach.

As far as research is concerned I believe that searching for doubt is as relevant as searching for a particular truth. I read anything from biographies, to poetry, to fiction as well as non. As for finding new influences I am trying to discover a common tether in the sensibilities of artists from the movements of surrealism, minimalism, archive art and political art. I work from a list of artists and galleries to find contemporaries and use the library for older contexts of my placement in the art realm. Keeping an idea log is helpful, as I have strayed momentarily from drawing, in its most formal sense. Drawing as a plan I believe will only help me as I am finding an unbalance in what I am doing verses what I am thinking.

this house is not a home

i found this delightful to read. the author writes with alot of contagious enthusiasm. when he describes ideas of home it sounds much like a description of mother (not who she is but what she is). as i read it though i long for the house he describes (my own was not the place of saftey he paints). my childhood memories of 'safety', looked at with adult eyes are terrible. i also cant help thinking of those who grew up with hoarders as parents. a friend of mine whos childhood home i visited recently was a cluttered labrithe with some rooms of the house so full that piles reach the ceiling making many rooms unusable. i think about the way they feel about their mothers home and the way i feel about my own; and the line "these dwelling places of the past remain in us for all time" rings true. instead of warming day dreams, for those of us with traumatic childhood homes, there are inescapable night mares that feel as though they are a visible stain the world can see. the author talks about the imapct of these spaces but i wonder what is the impact of spaces that leave no room(emotional and/or physical) for inhabbitants? "the normal unconcious knows how to make itself at home everywhere" which is true. childrens minds will find ways to self-nurture even in painful places. the lack of space forces one to daydream more than most to creat worlds where there is space or they normalize their surroundings only understanding that the space in which they live is not quite like others.

artist: jenny saville. gross and beautiful

danielle drawing 2

DRAWING NUMBER TWO WOOHOO

Brett - Drawing #2

Took one vintage slide of the baby and layered it with a slide of a cave, projected it and printed it on film, then went over with gouache marker and varnish.

The House Response

As I read through Bauchelard’s text I felt conflicted about what I agreed with, and what I didn't agree with. I agree with Bauchelard when he talks about our homes being our first universe and that we are born into our home. I also agree, when combined with the previous statement, that our imagination augments the values of reality. I do not agree with the assumption that the house you were born into, and the universe you were brought up in was a safe and comforting one. For many people the home they are born into is the complete opposite. I personally have felt these feelings he talks about, but not towards a home I lived in.  
      I not only find myself daydreaming, but actually dreaming about this house. I realized that in my dreams and nightmares, when I am afraid or need a safe place to go, I always end up at my paternal grandmother house. My dreams bring me there, knowing I feel safe their.  Growing up I always felt safe and was able to be a child there.  It's environment and the positive emotions I get from the memories growing up there have me feeling nostalgic and yearning to go back. The objects inside of the house are not as important as the shell of the house, and the shell of the house isn't anywhere near as important as the area surrounding the house. The woods and environment surrounding the house are just as important and make me feel just as nostalgic. So I am not sure if I agree with the idea that the outside world will never have as much meaning to us as our homes do. 

WEEK 2 DRAWINGS- Ayla

Arnold Kemp

Kemp's oeuvre facilitates many different ideas, but his most recent work conveys strategies that remind me of what Paul Winter states his work attempts to do.

One of his series was inspired by a Sonic Youth record. Cool!

Interesting side note, he runs the MFA program at Pacific Northwest College of Art, in Portland, Oregon. One of the better west coast programs, I think. He, like many other artists, loves talking about himself.

http://www.worksarnoldjkemp.com/

The Poetics of space, yea ok

Bachelard states that "our house is our first universe," I say god I hope not. He gives the house too much credit when he states that our home is an embodiment of dreams. For some it's nightmares and repressed memories and molestation and family feuds, for me its just a storage space for stuff and temporary situations. Whether it be emotions, dreams, stuff, or livelihood, it to me is all temporary. Everything can and will be replaced, the house with it and all that it entails, including the so called dreams.

"Home" rather then a physical house has more to do with personal experiences and feelings. I can agree that a house can be a space for solitude, imagination, and creativity but when I think of houses I've lived in, I don't really think about how creative I was or what my dreams were had but I do consider solidarity and mostly where I may be living next. I partly agree with Bachelard when he states "We bring our lares with us," the house as a object, I do compare a present house to a previous one. I have made twenty-two different moves in my life in which i lived in seventeen different houses. I can recall only some of my emotions while residing in them but i can almost recall every emotion summoned when i had to leave one place to move to another. So saying that a house is a metaphor for self would be a horrible thought but maybe the fact that I have yet to find a home within a house saids something else.

Rebecca Tennenbaum reading response and weekly drawing

What intrigued me about this reading was the idea of space as security, and minimizing the security down to the essential structure of a room or house. I enjoyed all of the psychological aspects discussed in terms of human emotion and our natural thinking patterns, relating to our attachment to our physical structures. Human emotion and natural thinking patterns such as nostalgia and memory are all safely protected in our minds, and we have our bodies and control for physical protection for these thoughts. After reading this passage I liked to think of these two separate relationships; the body being a shelter to the mind as a physical structure shelters our bodies (and therefore the mind, as well.)

I moved around a lot growing up, so when I related the reading to my own experience, I found that the strongest area of attachment I have to my past is not in the physical spaces but the objects that make up the spaces. My most precious items are all reminders of the places I’ve spent my time, and my current space is inhabited by reflections of the past spaces. What would my current space be like if I did not have these objects occupying it? I found myself wondering how I would interpret my current position if I didn’t have these influences surrounding me, would it make it possible to accept the space and time for where it was in the present?

The intimacy of a particular space was also very interesting to me. There is only one structure that has remained permanent in my life, and when I am there it is miraculously easy to reflect on how I’ve grown and changed since my previous time there. I share the similar struggle that most people endure, the honesty of self-reflection. It’s difficult to see yourself clearly while in your own space, even if you sense a change it’s not as easy to identify the specifics. When I return to this one constant, it is all too easy to harness the changes that have happened since the last time. After reading the chapter I found myself wondering how much of these “realizations” are illusions, due to the comfort of the permanent, or if the permanence of the structure genuinely serves as a clear filter for my self-reflection.

Interesting Lecture series

Here's a lecture series that takes place in New York. I had the honor of hearing the dialogue from a previous one over the summer and found it incredibly stimulating. I'm sure it would be much better in person. I also had the pleasure of speaking with R.H. Quaytman at her recent group show in New York, she is a little tour de force! Smart, too...

Artists on Artists Lecture Series at Dia:Chelsea
Established in 2001, this series highlights the work of contemporary artists from the perspective of their colleagues and peers, and focuses on artists in Dia's collection and exhibition programs. Lectures take place at Dia's 535 West 22nd Street location in New York City.

The 2010-11 Artists on Artists Lectures are dedicated to the memory of Bradford J. Race, Dia Trustee from 2002-10.

Upcoming Events
Past Events
Funding

Upcoming Events and Public Programs
Dia:Chelsea
Artists on Artists Lecture Series at Dia:Chelsea
Richard Aldrich on Walter De Maria
Monday, October 10, 2011, 6:30pm

Dia:Chelsea
Artists on Artists Lecture Series at Dia:Chelsea
Mark Leckey on Robert Whitman
Monday, November 7, 2011, 6:30pm

Dia:Chelsea
Artists on Artists Lecture Series at Dia:Chelsea
Jutta Koether on Agnes Martin
Monday, November 14, 2011, 6:30pm

Dia:Chelsea
Artists on Artists Lecture Series at Dia:Chelsea
R.H. Quaytman on Dia Art Foundation
Monday, December 12, 2011, 6:30pm


http://www.diaart.org/programs/main/16

Paul Winter - Bauchelard Response & weekly Drawing

Top Two: Paintings by Charline Von Heyl; these are currently at the ICA. I must say that the image on the right, which is from a card advertising the exhibition, does very little justice for the actual work. The colors are much more vibrant and have a mysterious glow to them. I found these paintings particularly inspiring because of Von Heyl's statements on the press release for the show, from which I understood that her paintings were not of things or abstractions of things. Instead, they seemed to be made just because. I wouldn't say that they were generated from pure 'play', or that they have no associations, but I found it pleasing to see work that did not seem to have an obvious agenda.

On the left is from my sketchbook. I was testing different black mediums together by layering and mixing, followed by some line-work with chalk.

Bauchelard Response:

What resounded with me from Bauchelard’s text was his idea that one easily dreams of a house with a primitive kind of intimacy while already in one’s own home. He suggests that one likes to imagine a sort of displacement of the reality that normally surrounds one’s home, which is then replaced by surroundings that allow one to feel seclusion and, at the same time, protected by the home. This seems to me to be the “joy of inhabiting” – the ability to comfort or grant ourselves reassurance by our inhabitance of a personal space.

I feel that our ability to do so is inhibited by distractions, especially in an urban environment. The situations that Bauchelard describes or cites from other sources seem to be relatively isolated to begin with, and he makes no indication of how sound from the external world could affect one while one is within a personal space. He does, however, mention the prospect of ‘naturalizing’ a sound to make it less hostile, such as Balzac’s ability to imagine the city roar as the roar of an ocean. Yet I am skeptical of this. I think living in the city makes one accustomed, to a degree, to the sounds of the city. Nevertheless, I find them distracting. The fact that my mind immediately associates most city sounds with an object does not allow me the fortune of imagining them to be more pleasant things – a prerequisite task, it seems, for the dreamer in the house to enter the conscious and cosmic reality of their oneiric home.

Otherwise, I have to agree with Bauchelard. There were spaces within my childhood home that I still imagine myself in from time to time (with significant distortions on them, of course). And it is almost never that, while in my apartment now, I daydream of another house that I have lived at. I find myself daydreaming in similar ways about my current inhabitance that I did as a child of my home then, and that my arrangement of my home now is not that different from the ways I had arranged my spaces when I was younger. Thus I also find myself agreeing with his notion that we have certain ways of inhabiting a space that we cling to for our lives.

Jane Hammond-victoria

based off of what I am working on now, out of some of Jane Hammond's works, Light Now: Dazzle Paintings and Photographs now on exhibit at Galerie Lelong, I am very much interested in how she portrays the figures in her works. A problem that i come across in my recent experiments is how to make details that are not interesting, interesting. Jane's multi medium approach is something i can consider. I am very drawn to the figures whose face is not shown.

week 1(1) week two(2) drawings- victoria

The first drawing is for week one, it is the drawing that is the starting point of my current endeavor. Something happened in this drawing that i wasn't aware of until several students pointed it out to me. My initial goal was to extract the figure and focus on the detail of the camp and shadows. The focus however became the cell phone, which I consciously included in the drawing for an unconscious reason. It better served my goal then the camp.

the other two drawings are from a series of sketches (life size) exploring my objective of making things that aren't so obvious, apparent and dominant. It is an experiment that still has many kinks