Final Reflection

I didn't know what to expect going into senior studio this spring, but it was definitely worth it.

There were many obstacles that I was worried I would hit such as wasting to much time, not being able to think of a solid idea, and being confident about what my final product is. To be honest, I did hit some of these obstacles, but with the help of everyone around me and time, I managed to wiggle through them.

When I first sat down at my studio in the back room, I had way too many ideas going through my head that I couldn't possibly organize. I felt like I was sitting in a room with 9 amazing and experienced confident painters/artists, and that I had a lot to live up to. It took most of the term and several different blog posts to realize that everyone is individually on their own boat, including me and that even if I don't classify myself as a painter, there are many other art skills I have and can use.

I'm happy I got the chance to see and feel what it is like to be an artist in their studio with nothing telling them what to do. It was a completely different experience taking an art class without any set projects or real rules. This was both a struggle and an advantage for me. Being able to set my mind free and see what it can come up with is fascinating to me. When I hit any struggles, having group critiques helped more than I thought. I'm lucky to have experienced this class this year, and I cannot wait to share my artwork in the gallery, and to see my classmates works of art as well.

Seven Days in the World

This week you're reading an excerpt Seven Days in the World. On your blog write a short personal response to what you've read. Any revelations? Surprises? Can you imagine yourself participating in a crit like the one described here

Reading about these critics at California Institute of art made me realize how bad of a critique i would be. I think that at an art school, the art students have gotten used to hearing critiques and have learned that it is not intended to be a personal thing, even if it sounds like it. I think that if i were to critique someone at a serious institute, I would still have a hard time being as tough and confident in talking to people about their art as these critiques are. In the classroom at Beaver, I think it is good to practice being honest and serious when talking to other people's art, even if I'm not the same type of critique as the ones at art school.

photo transfering

Photo transfering photos onto wood, bubble wrap, plastic bags, and packaging peanuts

Alternative Exhibit Formats

I really enjoyed Lorna Simpson's "wigs". I like how all of the wigs are different shapes and sizes, but she puts them on evenly set up on the same colored tile. I also like the fact that you would not expect to see wigs pinned up to the wall like that, but because it was done, it looks really interesting. I also thought that Andy Goldworthy had really cool ideas and thought it was interesting how he made art mostly out of format using 3d objects. Both of these artists used objects that were formatted in different ways that were unexpected but turned out looking really interesting.

Process

Me photoshopping a picture into black and white so that I can solvent transfer it onto different materials to see if I can make something cool.

Doodles

Surviving the critique

I think that artists intentions is important when doing a critique. Every artist has their own idea of what they intend for their art to portray. During a critique, I think it is important that the artist gets a chance to talk about what they are trying to do, so that the critique/s can let you know if you are making the connection instead of judging your ideas from scratch. This can easily be done in a class like ours. We can let each other know the clear idea of what we want to happen, and get advice on how to make it happen.

I think that during a critique it definitely makes a difference when people react to what I am saying about my art whether it is good or bad. I don't find it useful when people just agree with what I am saying and shake their heads, but to ask questions and try to open my mind up to new ideas. Also, the reading talked about having a judge, evaluator, and a specialist. Even if it just sounds like three different types of people judging your work differently, i think it it will be the most useful in the long run.

I can be a helpful critique by listening to what the artists intentions of their art work is, and letting them know honestly what needs to be added or subtracted from it in order to get to that point. Also, by listening to what they have to say and what others have to say about the art will help me think of ideas to help them out.

Art & Fear

Select three quotes from the excerpt that you can relate to and type them into a post on your blog. Maybe they remind you of something that's happened to you in an art class or something you've seen someone else experience. Write about how you relate to the quote and include as many specific stories as you can.

"In moments of weakness, the myth of the extraordinary provides the excuse for a viewer to quit trying to make art, and the excuse for a viewer to quit trying to understand it."

I know that there have been many moments where I have doubted my artwork/ art making abilities. I would start with an idea in my head and then slowly loose confidence in my ability to accomplish it. The passage talks about one's self confidence in their actions and rethinking what art making is.

"If you think good work is somehow synonymous with perfect work, you are headed for big trouble."

I find myself doubting my final products something for this exact reason. They do not look perfect to me. For example, oil painting was a big challenge for me. When the still life's did not look so real on my canvas, I automatically looked at it negatively and want to start over. I realize that human beings are not perfect, and that my paintings are a part of my own style, and not so much perfection.

Playing with photoshop

Reading Post: Twyla Tharp

One problem that I can see myself having is finding results in my art. As Twyla says, "A painter has those sketches littering the floor to look at later. A writer can read what's been written. A composer can jot down the notes that enticed his ear. I didn't have a way to capture my improvising when I started out (this was the 1960's, before the invention of portable video). It bothered me that I was wasting a lot of good movement in the studio." I can relate to this because I am always worried that I am wasting time or spending time doing something with no significance to my results. Twyla coped with this my scratching. In other words, leaving herself open to everything.

Another issue that I can see is coming up with ideas. In the reading, she talks about many ways to handle situations like these, ranging from listening to other people's ideas, to practicing what your already good at. She talks about finding your inspiration throughout the entire passage, and how it will not come to you, you have to meet it half way.

One more thing that I am capable of getting myself into is over planning or over thinking. A quote from the passage says, " The most productive artists I know have a plan in mind when they get down to work. They know what they want to accomplish, how to do it, and what to do if the process falls off track. But there's a fine line between good planning and over planning to inhibit the natural evolution of your work." I am afraid that I will begin a plan and want to strive for it, but when it comes down to making it, I realize how unhelpful the plan was and veer off into a different direction. This helped me realize that sometimes an outstanding plan is not the best way to go if I am having trouble creating it. It can also take letting go of the plan to have a positive outcome.

Artists at work: workspace and process

Make a list of the types of things you see in most of the studios you look at.
Why do you think these things show up more than once?
How do artists develop spaces and methods for making their most authentic work as part of a daily artistic practice?

In most studios I looked at in the powerpoint, the artist usually set up their studio in a corner or against a wall. It looks like everything they would ever possibly need for their art is able to be found right in front of them. There is usually some form of plan or brainstorm with the artist such as a sketch book. Many studios have a lot of piles of things and not exactly squeaky clean. It seems like there is a lot of open paints that are both old and new.

I think that all of these things show up in artists studios because these are the things that create a comfortable environment and an easy workspace for the artist. I think that in order to have all your necessities available to you at all times makes it a million times easier to do art whether it is a planned project or a free-drawing piece of art. If all materials and necessities were perfectly put away somewhere, organized, it would become a less free environment to do whatever feels right.

It seems like Artists develop their work spaces over time, once realizing what works best with them overtime. For example they might learn that they work best in a certain light, with or without music or sound, etc. I also think that it depends on what type of art they are doing and how it relates to them.