Steve Roden

Looking forward to next semester (and site-specific work), I came across this piece by Steve Roden. I haven't listened to all of the audio, but the description is pretty captivating.

Wire projects

wire in progress

365Project

Works from this project are currently on view at the Cafe Lladro near the Paramount Theatre

Riley has a new website

It's in the list on the right side of your screen and here

Dash Snow polaroids

Tiny vices here

Evergreen, Saturday, December 8 LAST CLASS

This day will be pretty fast-paced, as we'll be working to give everyone ample feedback on their portfolios. Here's what I propose for a format:

9:00-12:45
Begin by presenting* your portfolio work in either the studio or the critique room (I'll have both spaces open, most likely by 8:30, weather permitting). Works can be installed in whatever manner you see necessary-- on easels, pinned to the wall, on tabletop, pedestals, arranged on the floor, or any combination therein.

10:30 (or whenever it's really needed)
Break time. I'll be bringing some coffee and banana bread, and I encourage you all to bring anything you would like to share as well.

12:45
Turn-in final copies of your self-evaluation and faculty evaluation. Helpful information and templates for your evaluations are available here. If you are new to the evaluation process, or would like feedback, The Writing Center offers numerous tools for assisting you in the process. In addition to this, please feel free to email me dombrosm@evergreen.edu with any questions.

*in presenting your portfolio, please note that this process is designed to be tailored to you, and my hope is that it would be useful in discussing your work as it exists and considering ways to sustain your artistic practice. With this in mind, are there specific questions you have for the group regarding your work?

Does your portfolio of works succeed in the ways you hoped it would?
Are there certain concepts or compositions where you would like feedback?
Which works presented (or rather, continue to present) questions to you?

Thanks for all of your work this quarter, and I'm looking forward to class next week!

Evergreen, Saturday, December 1

Books:
Alberto Giacometti
Pablo Picasso (180 drawings from 1953-54)
Han Hofmann
Jean Dubuffet
Richard Diebenkorn
David Shrigley

Video:
Trenton Doyle Hancock and Kara Walker segments from the Art:21 Season 2 (VHS FA 80) and this work, by William Kentridge

   Title          William Kentridge :
               drawing the passing /
               written and directed by Maria Anna Tappeiner, Reinhard Wulf ; produced
               by Westdeutscher Rundfunk.
Published      Houghton, South Africa : David Krut Pub. ; c1999.
Description    1 VHS (51 min.) : sd., col. ; 1/2 in.
Series
Note(s)        Camera, Nic Hofmeyr ; editor, Sibylle von der Laage.
               Kentridge discusses the creative process of making his animated films,
               drawings, and theatre work. Shows him in the final stages of animating "
               Stereoscope" and includes excepts from various works. In his artistic
               works he has investigated the diseased, amnesiac consciousness of late
               and post-apartheid South Africa.

VHS FA 109

and

   Title          Automatic writing /                  [videorecording]
            produced by Bick Productions, Ilene Kurtz-Kretzschmar and Caroline
            Bourgeois and the New Museum of Contemporary Art, New York.
Published      [New York] : The New Museum of Contemporary Art, c2003.
Description    1 DVD : sd., col. ; 4 3/4 in.
Series         Point of view: an anthology of the moving image.
Note(s)        Published on the occasion of the exhibition at the New Museum of
            Contemporary Art in New York City, February 27-May 2, 2004.
            Video: Automatic writing / William Kentridge (3 min., 2003) -- Interview
            (2003) -- Image gallery -- biography.
            Exec. producer, Jumex Collection, Mexico ; music Bang Goes.
            Interviewer: Dan Cameron.
            Part of a series presenting a point of entry for contemporary artists
            working in video, film and digital imagery who represent different
            generations and cultural perspectives. In Automatic writing, created by
            the South African artist William Kentridge, the artist's beautiful
            series of animated black and white drawings brings viewers into the
            artist's unconscious, using surrealist techniques to explore the point
            where writing and drawing intersect. Film is followed by an in-depth
            interview with the video artist.

DVD FA 19

253

By request, here's a good amount of things to do in Tacoma, and I'll continue to update this, whenever I'm complaining that there's nothing to do in the City of Destiny

to visit:
Tacoma Art Museum (Gee's Bend!)
Museum of Glass
M-Space (Holiday sale!)
The Helm (link at right)
Grand Cinema
Tide Flats
B & I, if you dare


to shop:
funcoma
Urban Xchange (for Loyalty T-shirts and, well, everything)
Rocky & Coco's (usually something is on sale... or you'll see Chris Sharp there)
King's Books
Buzzard's

To eat:
Rosewood
Corina Bakery
Le Donut
Cloverleaf
Marcia's Silver Spoon
Vuelva a la Vida
Vien Dong
Le Le's
Galanga
Gari of Sushi

coffee:
Metro Coffee
Black Water Cafe

to learn more:
Exit 133
Tacoma Culture

Cluster 4

CLUSTER 4: WIRE PROSTHETICS
Tentative schedule/timeline: Approx. 5 weeks
Week 1
Mon, 11/12:    VETERAN'S DAY, NO CLASS MEETING
Wed, 11/14:     Debriefing on color projects/collaboration/camouflage; introduce this project with drawing figure studies for wire garments.
Fri, 11/16:     Visiting Artist sampler: knitting, embroidery, sewing machine overview, wire working demonstrations

Week 2
Mon, 11/19:    Discussion of samples (proposal 1, as below), view Alexander Calder, Circus.     
Wed, 11/21:     NO CLASS, THANKSGIVING
Fri, 11/23:     NO CLASS, THANKSGIVING

Week 3
Mon, 11/26:     Studio work, garments. Soldering demo with Rob (to be confirmed)
Wed, 11/28:     Studio work, garments, view Matthew Barney, Cremaster 3 (excerpts)
Fri, 11/30:    Class meeting at Frye Art Museum, with drawing intensive

Week 4 
Mon 12/3:    Studio work, garments
Wed 12/5:    Studio work, garments
Fri 12/7:        Visiting lecture TBA

Week 5
Mon 12/10:    Studio work    

Wed 12/12:    Critique/discussion—projects completed for this class. Group to develop discussion model.
Fri 12/14:     Final class TBA

PROPOSAL 1: ADHESIVES AND MECHANICAL FASTENERS

This exercise consists of open-ended experiments resulting in three (3) surfaces or forms. You will be creating a continuous surface from individual (modular) parts found in commonly used household goods. 

Proposal Requirements
These experiments have to do with exploring textures and building/designing visually and conceptually compelling surfaces while learning about adhesives and mechanical fasteners. Each experiment needs to be a minimum of 5" square and can be done on a flat surface, although you may choose to build-up into a form. These are studies for surfaces that may be used in your garments (see the next proposal). Some things to consider in your design process:

Meaning/ content 
Metaphors of materials; what "baggage" do the materials you've chosen already have associated with them (what meanings are mapped onto the forms)? What are the implications of the processes you utilize to work with the materials? Does weaving together plastic garbage bags mean something altogether different than cutting them apart with an exacto and gluing them together again?  

Forms
Do the materials and processes create a form that is rigid or fluid? Is it angular or organic? Is the pattern regular or random (or both)?

Fasteners 
Please don't limit yourselves to these fasteners and adhesives & don't forget to have fun! Thread, nails, staples, brads, screws, pins, bolts, swivels, jump-rings, clamps, pliers, etc. 

Adhesives
Wood glue, hot glue, latex paint, gum, silicone, tapes—how does one thing attach to another? 

Our next project will be the construction of a garment or prosthesis. Explore ideas in your process book. Cut out images you find. Make copious sketches, take notes, or even write stories. Explore many options. Be sure to come prepared with ideas ready, but refrain from making extensive unchangeable plans; allow your process to be mutable and change with your new discoveries.

PROPOSAL 2: WIRE GARMENT (A LINEAR STRUCTURE)

Proposal 
This project uses line to define a three-dimensional form in relationship to the human body. Using wire to "draw" the form, you will construct a garment, prosthesis, or body extension. This construction will be life-size and presented appropriately to the concept (i.e. either animated by the body – you're wearing it, a model is wearing it, or it's somehow enacted in a space--or supported in a way that speaks to the absence of the body).

Concept
This construction will be the manifestation of an idea you have about the human form. Consider an expression of who you are, who you wish you were, or who you might like to be. The garment could explore your ideas about the body in relationship to particular social issues. Or you could construct a useful addition to the human body. The nature of the concept is open for your consideration, but the focus of this project is to develop a concept and then develop a way to express it. What kind of message does a particular line give? How do these choices support your idea? How does the work change if it is worn or not? If it's not worn, where does it reside? Does something replace the body? 

Process
Test connections, bending lines, building form, making mass with lines. Experiment with different types of wire or other linear material. Gauge and metal content will determine how flexible wire is and how it will hold a bend. Other things to consider when choosing wire are coatings or multiple strands joined together (twisted, knotted, overlapping). If very straight elements are needed, consider using rod, which is very hard and can't be easily bent or other stiff materials. Likewise, if organic elements are needed, perhaps something very soft (rope, twine, paper cord?) may be employed. Although you may choose to add a covering to your wire garment, consider that the primary exploration in this work is how wire can grow into a mass, hold weight, support itself, and support you. 

Process requirements 
Samples of miscellaneous wire connections, soldered connections, and wire weaving. In your process/drawing book, make lists of your interests in making this work. Make sketches of your ideas. Write about your idea. 

DRAWINGS OF ALL BUILT FORMS MUST ACCOMPANY YOUR WORKS
To speak to this a bit more, these drawings may very well happen in different ways; drawings as preliminary studies, as responses to works, as research (maybe observational drawings of things you see that you want to appropriate or assimilate into your work), as word lists, as notes, as stories. 

NOTES ON METALS
The smaller the guage, the thinner the material; 24 gauge is thinner  than 8 gauge.

Types of Metal
Aluminum – very easy to bend, not strong
Copper – easy to bend, can be soldered, patinas, stronger than aluminum
Brass – stiffer than copper, affordable
Mild Steel – great variety, fairly strong, bendable but not as flexible as copper
Music Wire – very stiff and springy
Stainless steel- very expensive, won't corrode
Alloys* – mixing metal content to achieve particular properties such as:
Improving corrosion or abrasion resistance, balancing strength and brittleness, increasing flexibility

*To alloy may affect what you can do with a particular wire, especially if you are trying to solder. Only certain metals can by soldered, and alloys may be impaired or debased by the admixture.

Wire vs. Rod
Rod is made by compression and therefore holds its shape
Wire is extruded and remains easy to bend unless it has been treated by another process (see below). 
Multi-layer wires
Braided wire shield – wire that is sheathed in a braided mesh of another thinner wire
Insulated wire – wire coated in rubber or plastic
Twisted wire – individually insulated wires twisted together in an outer covering.
Stranded wire – inner portion made of very thin wired twisted together
Ribbon cable – wires laid next to each other and coated (household appliance cords)
Coaxial cable – one wire with several shields and insulation in between each shield

Altering the properties of wire
Tempering - heating and cooling 
Yielding– stretching or compressing (without return)

Both processes make wire stronger (less easy to bend) and more brittle (breaks easily). These are treatments that are done in manufacturing to create particular properties in wire. These processes can also be done in the studio. If wire is heated with a torch and plunged into cold water is will temper. If wire is hammered it compresses and is yielded. 

Here's a list of the books I brought in today (with Library of Congress call numbers):

The Artist's Body NX 456.5 B63 A78 2000
Alberto Giacometti N 6853 G5 A4
Honore Daumier N6853 D3 A4 1982
Out of Actions NX 456.5 P38 S35 C2
Lucy Orta N6797 O78 P56 2003

Class 11/19

Just a quick recap of some of the materials we discussed/viewed today:

First off, special thanks to Allyce Wood and Derek Ghormley for taking time to visit today-- if you two read this, you're the bomb(s)!!!

And the videos are

Alexander Calder, Calder's Circus

and

William Kentridge, Automatic Writing (the Kentridge piece is available in the Cornish Library, DVD FA 19)

Also, here's a partial list of the some of the artist projects that came to mind, in discussing your samples. Works by

*Andrea Zittel (see link below)

*Tim Hawkinson

*John Cage (audio is available from a bunch of sources online, most notably ubuweb.com)

*Printer's Devil Theatre (IKEA Cycle)

*Campana Brothers (Vermelha and Boa, among others)

*Ernesto Neto (I showed Nick some examples, but he makes things like this--above)

Riley camo

Books in class

By popular demand (really), here's a list of the books in the classroom this morning, as well as the artists I was discussing, however roundabout-- I'll most likely be creating some lists of these and compiling them in one accessible place/list, rather than burying them here, so think of this as a holding pen of sorts (formatted MLA, keepin it old-skool):

Selz, Peter and Kristen Stiles, eds. Theories and Documents of Contemporary Art. Berkeley: Univ. of California Press, 1996. N6490 T492 1996

Libeskind, Daniel. Between Zero and Infinity: Selected Projects in Architecture. New York: Rizzoli, 1981. NA 737 L46A4

Jungen, Brian. Brian Jungen. Vancouver: Douglas & McIntyre, 2005.

Bacou, Roseline. Piranesi: Etchings and Engravings. London: Thames and Hudson, 1975.

The artist list goes a little something like this:

Chris Burden (with artist statements from the book above, at the top of the list)
Yves Klein (IKB)
Vanessa Beecroft (the review of her work in Parkett is especially helpful)
and somebody else I can't remember... any help?

Nick Etre + The Stranger

Get the full scoop here

Yesterday

I vaguely remember mentioning this work yesterday-- it's Misfit (2005/06), by Felix Schramm, at SFMOMA, Courtesy Grimm | Rosenfeld, New York and Munich
© Felix Schramm Photo: Stefan Maria Rother.

And this, from SFMOMA,

	Friday, June 29, 2007 - Sunday, September 30, 2007 German artist Felix Schramm creates the illusion of architecture gone awry. Made from drywall, paint, steel frames, and wood, his site-specific installations resemble the aftermath of disaster inside the gallery, where the delineations between the work and the institution's architecture are difficult to discern. His twisted, splintered fragments of structural forms — walls, ceilings, floors — burst from the building's framework at dramatic angles, producing large-scale works that seem at once threatening and fragile. For his installment in SFMOMA's ongoing New Work series, Schramm presents a new piece that continues his pursuit of achieving balance between chaos and order, the particular and the universal, and offers visitors an experience of physical tension in the Museum's gallery.

Over and over and over and out

Working smarter not harder today. Here's a list of some of the artists we'll discuss during Cluster 4 (that's the next project module), taken from my notes from last season:

References (stream of conciousness, not comprehensive)

Richard Serra (his Verb List provides many, many inroads into considering how you may activate a material). Also, the website that it links to--ubuweb.com-- is awesome. Thank you Kenneth Goldsmith for being out there and doing your thing.

Rei Kawukabo/ Commes de Garçon (their approaches to reshaping the body)

Pipolotti Rist (clothing, not so much as prosthesis, but as memory)

Andrea Zittel (we'll most likely screen the Art:21 segment in class)

Alexander Calder (view Calder’s Circus)

Nice Collective (their early lines incorporated boning; jackets that transform into kites)

Project Alabama (Natalie Chanin keepin it real and collaborating with the community)

Jessica Stockholder
Jana Sterbak
Ann Hamilton
Malcolm Cochran
Jean Tinguely
Bruno Pelassy

Stelarc

Survival Research Laboratories

Final Home (again, considering notions of community, Final Home's rainjackets rethink the body as shelter-- and were, until just recently, available through MoMA. Their website is great, although the preload takes forever)

Lygia Clark
Ernesto Neto
Helio Oiticia

Cecilia Vicuna (I'll link this to some audio of her reading her poetry soon, and probably hand out some of the materials in class. Her use of Incan quipu may be useful in considering the context of your work, as it develops in an environment-- and Kassie, it uses llama!)

New post!

Okay, I'm sick at home today, so I reckon I'll just be posting stuff all day long in an poor attempt to "catch up". The image above is Dialogo (1966), from Lygia Clark, one of her propositions, and a great introduction into thinking about our next cluster on the body.

Also, the video we viewed yesterday (for those of you would were asking, or would like to see it again) is Over My Shoulder (2003), by Douglas Gordon. The work is part of the series Point of View (put out by the New Museum, I think). The entire series is available in the Cornish Library (see link to the right for bibliographic info).

And some of the artists I profiled in print the other day (coming out of our discussion on the color collage/samples you designed) include

Donald Sultan (again)
David Hockney (again, but in paper)
Cildo Mierles
Elizabeth Murray
Elizabeth Peyton
William Wegman
Keith Haring
Bruce Nauman
and
Georges Seurat

Samantha Scherer at Davidson Contemporary Nov. 1

DAVIDSON CONTEMPORARY
Hours: Tue - Sat, 11:00am - 5:30pm

FOR IMMEDIATE RELEASE - OCTOBER 2007 EXHIBITIONS

SAMANTHA SCHERER - Mad, Hopeless and Possible

November 2 - December 1, 2007
Reception for the artist:
'First Thursday', November 1, 6-8pm

This exhibition consists of moderate sized watercolors inspired by the Antarctic expedition of
Sir Ernest Shackleton and the crew of the Endurance in 1914.

"My work seeks to simplify our fluid popular culture by focusing on
legend, celebrity and the line between truth and fiction, especially as it is
blurred by history and personal narrative... These investigations have led me to
focus on historical personalities whose acts of heroism have been revived and
explored through recent films, biographies and memoirs."

It is Shackleton's crew's fruitless efforts to free the ship from the crushing
ice and their leisure activities in between these efforts that is the focus of
the work in "Mad, Hopeless and Possible." The artist has used watercolor and the
broad expanse of white paper to create a cinematic landscape. The spare
drawings reflect the vast frozen sea punctuated by an ice-bound boat and men
frozen in motion. The contrast between black watercolor and white paper mirrors
the impossible task of keeping up morale in the face of insurmountable
odds. It is this ultimate underdog story, so much a part of our current popular
media, that is essentially at the core of the work in "Mad, Hopeless Possible".

Image:
Pack (I) (detail), 2007, watercolor on paper, 10 x 22 inches

(Quotations drawn from the artists' statements for the exhibition)

Deadmandave

Here's what first-year work in Oak Ridge, Tennessee looks like. Welcome to Jackass

Cornish Mid-term conferences

Hello everyone,

As we discussed in class, I've scheduled your mid-term conferences to coincide with the conferences that Jacob has scheduled with his class, so that you and your partner will (ideally) be meeting with Jacob and I simultaneously. So, here's the conference schedule

Mon, 10/29
9:20 Ryan
9:40 Heather
10:00 Erin
10:20 Hana
10:40 Alex
11:10 Nick
11:30 Kassie

Wed 10/31
9:20 Katie
9:40 Faith
10:00 Dani
10:20 Kevin
10:40 Cady
11:10 Liz
11:30 Riley

As outlined on the Mid-conference overview sheet I provided to you last week, please bring your work samples and anything else that may assist us in discussing the development of your practice.

These are cardboard

here

Riley took these

Martin Creed saying, thinking, writing, saying

I was actually looking for something else, but came across this
***
I don't know what I want to say, but, to try to say something, I think I want to try to think. I want to try to see what I think. I think trying is a big part of it, I think thinking is a big part of it, and I think wanting is a big part of it, but saying it is difficult, and I find saying trying and nearly always wanting. I want what I want to say to go without saying.

Martin Creed, 2001

Evergreen Art 2D Practices portfolio?

First off, let me start by saying how amazing the progress has been so far in class. We've covered a substantial amount of territory, and I'm enthusiastic to see new works being made. Responding to the progress we've seen in the collage work (and looking at how it relates to the drawings we're doing every class), it may be helpful to discuss the syllabus (again), as we move further in building a portfolio.

So, as an introduction, THE PORTFOLIO:

In designing the framework/calendar/syllabus for this course, one of my objectives is to identify (to you, with you) your own processes, and how they inform the work products you make. To this end, I would like to unfold some of the characteristics of the portfolio that I introduced (briefly, as though you were passing it in a party) in our syllabus. What is becoming evident (to me, and hopefully to you as well) is how independent your solutions are for the series of works we make together in class-- whether collage, perspective drawings, nature studies, or abstract design problems. Working effectively as a group, your works nonetheless chart very individual responses to the projects in class.

Beginning in the next class, I would like us (as a group) to assess your work output to date, discussing the progression of the pieces you've already made, and noting/analyzing how works may share commonalities while also diverging greatly (in subject and form). From this discussion, I would like for you to design (in very broad terms) what your portfolio could look like, or where and how you see your work moving over the last half of the quarter. Which is to say, my thought has always been that you would be designing the portfolio yourselves, reflecting (in visual terms) your experiences during this time, looking to further (for many of you) investigations and works you began well before ever taking this course.

In shaping the syllabus, I have been using 2D art practices (drawing and collage to date) to frame our discussions and work. As we will be working with some printing techniques (most likely frottage, stencils, and monoprints) and painting strategies (water-based), I'm interested in discussing how you see these processes informing your work; what do you need to do to make the work you want?

Are there specific tools, techniques, concepts that are emerging in your practice?

Are there specific subjects that you find yourself returning to, or questioning repeatedly?

We've been meeting for a month now, and looking at ways to integrate drawing into your everyday life; you're making drawings in class, on the phone, on the bus, at home, and at school. How can a portfolio give a viewer a sense of you interests, and how you work?

What does ten (10) weeks of production look like?

Tom Sachs, the Eagle (has landed)

In the spirit of follow-through, Tom Sachs (re)created the lunar landing last Saturday night at Gagosian Gallery in LA. Here is the write-up from Catherine Taft in Artforum.

Show titles

Ah, although history may be written by the winners, it seems necessary at some level to list all of the show titles that didn't win for this project. So,

"It's me, your new best friend"-- Faith
Something is amiss (a miss)
What next?
Overload
Look at it and think about it
Conglomerated cardboard catastrophe (& metal & plastic & etc.)
Dumpster Diving, a true art form
Shoes, cars, trashcans
Out of the recycling bin
Batmobile
Mr. Roger's Neighborhood
Childhood
Block the Burn
Drunken Toddlers
Pass it on!
What is this place?
Ragdoll
Aerosmith, think about it

Process book for 10/17

For the process book due Wednesday (Cornish), please respond to the Alumni Sculpture Invitational in the Cornish Gallery. Like your field work at Suyama Space, these recordings may take multiple forms-- drawings, sound, writings, collage, photographs, or some sort of hybrid.

How do you navigate the exhibition/space? In addition to the works, please also be aware that biographies and statements from participating artists are available at the entrance to the exhibition. If there are images you would like posted to the blog, please feel free to email me.

Ahahahahahahaha

Take on me

Cluster 2 timeline REVISION

Just to clarify (for those of you I didn't get a chance to speak with this morning):

Fabrication on your cardboard projects should be concluded by the beginning of class on Wednesday morning. As you may notice walking around the 6th floor, all of the pieces from the entire Foundations class will be sited around the 6th and 7th floors, beginning on Tuesday.

While Wednesday 10/17 will be a studio day for us, we will be focusing on the documentation of your projects through drawing, photography, and writing. We will also be viewing Der Lauf der Dinge, a video by Peter Fischli & David Weiss.

Welcome Evergreeners!

Hi, I just wanted to take a minute and say hello to everyone at Evergreen who may be seeing the blog. My plan is ultimately to have this set-up as a forum to exhibit works from both Cornish and Evergreen, and consider possibilities for collaboration across programs. Go team(s)!

Whiting Tennis is coming

Tracks from their new album can be heard here

An interview with Whiting is here

And some of the things he makes can be seen here

Process book for 10/10

For next Wednesday, 10/10:

Track your chosen object over the course of the day, recording it's changes. Like Monet exploring the Rouen Cathedral or haystacks, this project lends itself to a serial approach: what (if anything) is different in the multiple drawings/photographs/collages/writings?

Choose at least two different times (more is probably easier) to record the object. Record the time, the place, the atmosphere. Why now? Why later?

Cars for Riley

Okay, here's a shortlist of some car art I've been thinking about lately (not exhaustive, but as an introduction)

Damian Ortega (Moby Dick, 2005)

Gabriel Orozco (we'll watch some video in class soon, but here it is-- "La DS")

and

Santiago Sierra ("Four Black Vehicles with the Engine Running Inside an Art Gallery", 2007)

oh, and who could forget

Ant Farm (Media Burn and Cadillac Ranch-- cornish has this DVD available in the library-- DVD FA 33)

also, projects by Chris Burden and Survival Research Libraries may be relevant for discussion

Shooooooooooooot

I forgot all of my notes at school, but having just got off the bus, I feel obligated (at this point, having just started a *NEW POST*) to write and link something, somewhere. So, if you are still reading this, here's the payoff

Tomsachs.org

It's foamcore, not cardboard, but you get the picture

More soon

Danielle McKain

And Jason, I need to resize your images, but I'm going to try and post them soon. Sorry for the delay. Cady, I just checked, but the images never made it to my email. Would you please re-send?

Nick Etre

Heather Beach

The Politics of Fashion

So, for everyone who asked:

The shirt is a Josh Slater design for Little Cakes (click here for more info on both the project and the gallery, with proceeds benefiting New York City Animal Care & Control ) and the shoes were sourced locally, thanks to the expert purchasing team at Capitol 1524.)

Also, thanks to everyone who participated in the print exchange today-- nice work. Remember, Monday we will begin class by revisiting the painting project, and an overview of Cluster 2 (probably 10:30 or so). Look for a preview of the project proposal in the next couple of days.

And

stay tuned for upcoming photographs by Cady, Nick,& Dani.

Erin Billings!

More painting

Okay, I know today was a haphazard, perilous look into acrylic painting, but I'm glad we started.

If you get this before class on Friday, please spread the word that (if everyone is up for it), we'll look even deeper (and more haphazardly) into the painting project on Monday, and give you some more time to explore the work before we hang them in the hallways for everyone to see. And, if you're really industrious, here's a list of the artists I pulled for today's discussion (I'll add library call numbers soon, really)

In chronological order:
Piet Mondrian
Theo van Doesburg (I didn't talk about Theo's work, but I was gonna)
Lee Krasner
Franz Kline
Ellsworth Kelly
Robert Mangold
Richard Serra
Sol LeWitt
Mel Bochner
Agnes Martin

Process book for 9/26

So you've chosen an object to chart over the entire semester, what's next? As this object is going to become integral to your life, it may be interesting to think about what it can do--what is possible with it, and what limits it?

To this end, for next Wednesday (9/26), I'd like you to design a set of instructions for an action or activity that utilizes your object. These instructions should include detailed steps of how you see the operation evolving, and what role the object plays. Begin with contour drawings of the objects and actions, storyboarding your procedure as you go.

Originally (and I'll bring some examples to class), my research and thoughts for this project led me to safety brochures, schematics, and improvised tools (chindogu anyone?)-- where I located this project by Johan Grimonprez from Deitch Projects (October 2000).

What do you think the chances are of mounting this exhibition now?

Oh, wait, this is like, the fourth time I've edited this posting, but I keep remembering some other stuff that seems like it might be pertinent, to someone, somewhere, who is in the process of developing their process book that follows a single object over the course of the semester. Here's a link to a great book by Hans Ulrich-Obrist called-- you guessed it-- Do It.

Kevin Christensen recent works

Ryan Aragon works hard