Snow Day?

I've been getting emails all morning from people who are snowed in, so I wanted to update everyone who was unable to make it in this morning--

For Wednesday, please come to class prepared with a proposed timeline of your mapping project, outlining the following:

*What are the physical elements of your project (including the directions for your walk, the physical map of the space, objects collected from your walks--artifacts, photographs, stories, audio clips, a playlist--and the structure that holds everything together)

*What materials do you need to complete your project, and what, if any, is your budget?

*What is your timeline for completion on all of the different aspects of the project?

Along with this timeline, please bring any sketches, notes, process books, photogrpahs, or ephemera you've collected to date. If your photographs are digital, you may either email them to me or have them available via the web and we can project them during class. Weather permitting, I'll see everyone Wednesday.

Oh, and here are some helpful links for mapmaking

This one is for Seattle's Department of Planning and Development
their DPD GIS (beta) version is awesome and easy to use

and

Google Maps takes a little more effort to program, but you can save them to a file, link them to gmail accounts, etc.

Evergreen collage, composition

my plan is to turn all of these names into hyperlinks, add a bunch of images to go along with them, and frame the whole group into some larger context, but in the meantime, here's a short list of some of the artist's works I'll be introducing on Saturday, and some artists that come to mind when I think about the works you've been making in class:

Composition studies, frottage (rubbings) and perspective studies (responding to site)
Max Ernst (we looked at some of these last week)
Toba Kheedori
Kevin Appel
Ingrid Calame
Drawing Now: Eight Propositions (catalog)
Richard Diebenkorn
Paul Cezanne
Piet Mondrian (drawings, 1920s)
Jan Dibbets

Portrait studies
Mary Cassatt
Cecilia Beaux (from TAM exhibition)
Lucien Freud
Francis Bacon
Frank Auerbach

Mapping Part II

Here are a few of the artists/works I'll be introducing during class over the next few weeks (not comprehensive, but evolving)
*Janet Cardiff (check out the link to her walks)

and this online project for the Vancouver Art Gallery:

Eyes of Laura

*Kenneth Goldsmith (Soliloquy)

*Vito Acconci, Following Piece (1969)

*Francis Alys, The Leak, El Gringo, When Faith Moves Mountains, and other works

Cluster 5: Mapping

Image above is The Chicago Outfit and Satellite Regimes c.1931-83
Graphite on Paper, 44 x 92 inches, courtesy Pierogi Gallery, Brooklyn.

Here is an article (from Cabinet Magazine) that gives a solid overview of the first project we'll be exploring during this cluster. Some of the works described are by Mark Lombardi

Here is an audio interview (from NPR) with Robert Hobbs, exhibition curator for The Drawing Center, discussing Lombardi's work

In a statement from 1997/98 (from Pierogi's site), Lombardi writes,

In 1994 I began a series of drawings I refer to as "narrative structures." Most were executed in graphite or pen and ink on paper. Some are quite large, measuring up to 5 x 12 feet.

I call them "narrative structures" because each consists of a network of lines and notations which are meant to convey a story, typically about a recent event of interest to me, like the collapse of a large international bank, trading company, or investment house. One of my goals is to explore the interaction of political, social and economic forces in contemporary affairs. Thus far I have exhibited drawings on BCCI, Lincoln Savings, World Finance of Miami, the Vatican Bank, Silverado Savings, Castle Bank and Trust of the Bahamas, Nugan Hand Limited of Sydney, Australia, and many more.

Working from syndicated news items and other published accounts, I begin each drawing by compiling large amounts of information about a specific bank, financial group or set of individuals. After a careful review of the literature I then condense the essential points into an assortment of notations and other brief statements of fact, out of which an image begins to emerge.

My purpose throughout is to interpret the material by juxtaposing and assembling the notations into a unified, coherent whole. In some cases I use a set of stacked, parallel lines to establish a time frame. Hierarchical relationships, the flow of money and other key details are then indicated by a system of radiating arrows, broken lines and so forth. Some of the drawings consist of two different layers of information—one denoted in black, the other, red. Black represents the essential elements of the story while the major lawsuits, criminal indictments or other legal actions taken against the parties are shown in red. Every statement of fact and connection depicted in the work is true and based on information culled entirely from the public record.

Hi Evergreeners!

Thanks for a great class yesterday. Keep checking back, as I'll be posting some links to works and artists we'll be looking at in class.