Posted in Exhibitions, MICA, News on December 1, 2009|
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Or…I’m turning over a new leaf?
In honor of my new and beautiful website launching sometime soon (within the next week!), which in itself is in honor of art market, I’m going to start posting again. It’s exactly the kick in the butt I need to make some time for my internet self.
In news this week:
I was nominated for and have been honored with a Barbara L. Kuhlman Foundation scholarship for the study of fiber arts.
I’ve been asked to participate in a small and brief but exciting exhibition of student work in honor of the Warren Seelig exhibition here at MICA. Thursday, December 3- Saturday, December 5, Middendorf Gallery.
I will be selling my work starting next Wednesday, December 9th in MICAs Brown Center. You can find out more about that event here: Art Market
Check back for updates of my recent work, etc. etc.
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I know there has been a serious lack of updates lately, but this artist is busy busy. After being a TA and an RA for MICAs pre-college program, an experience that had me working with amazing artists (Valeska Populoh and Margaret Hluch for two) teaching fiber (garment, sculpture, shibori), I took a few weeks off to travel and enjoy my summer. That’s not to say I didn’t get a lot of work done- pictures to be posted soon of recent work- but I also made myself stay off the computer as much as possible.
So now school has started once more, and I wanted to give you an overview of what this semester will be like for me, both academically and professionally, with more details to follow.
- Try to figure out how to make clothes for my costume class, and develop some sort of confidence about fashion illustration.
- Meeting between my Woven Imagery class and the Textile Museum in Washington D.C. to start planning an interactive and educational exhibit involving the documentation of the traditional Ikat process to compliment their show on Asian textiles due next fall.
- Weave my little butt off and plan for/ install my work in a show for October.
- Weaving show at el Rancho Grande with friend, former employer, and member of the Charm City Craft Mafia, Miss Carly Goss. (Running through November)
- Planning for the Textile Museum exhibit
- Collapse in a pile of satisfaction at having completed another 18 credit semester full of film theory, fiction writing, costume design, weaving, and some other nonsense.
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Experience in Professional Development
I believe that part of self-educating yourself involves taking advantage of every opportunity that comes your way. You never know what kind of asset an experience is going to be to your search for knowledge and wisdom–or for your resume. There can be many benefits to one opportunity that may not be evident from the beginning: working for Carly, I benefited from getting a look into the business of craft, practicing my weaving technique, receiving school credit, and making a friend while learning how to network with artists in Baltimore and beyond. I have high hopes for my summer job as a TA and RA for MICA’s Pre-College Program; not only will the teaching experience look great on my resume, but it too is a chance to network within the school and explore my options as an artist. Something I’ve learned is that you have to take your career into your own hands, even if you are uncertain of what that may be, and the earlier you start, the better.
Fist Print, Spring 2008
Contests and Calls for Entries
Part of building professional development outside of the workplace is respecting yourself enough as an artist to put your work out for the public to see. This is something that I feel a lot of artists struggle with–finding the confidence to say that my work is good enough to hang on gallery walls and be printed in magazines. I’m lucky enough that I have an excellent support system that is always kicking me in the butt to take risks and apply myself. Last year, I submitted the above print along with some other miscellaneous pieces to the Fiberarts Magazine’s annual call for student submissions. Even though I didn’t have a cohesive portfolio at that point, I’m glad I submitted my work because it was practice for this year’s competition, and I’m busy ironing, photographing, and formatting my very fluid body of work–my weaving–this weekend.
For those of you who are also looking to exhibit your work, an excellent opportunity that has recently come to my attention is a call for entries at the Textile Museum in D.C. with a deadling of January 2010–so you have plenty of time! I say go for it, you never know what may come your way in the future; the best thing you can do for youself is keep your eyes open to possibilities.
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And other woes, etc.
Today I had the (painful) pleasure of viewing the Cezanne and Beyond exhibit at the Philadelphia Museum of Art. It’s a shame really, because the exhibit was beautifully curated, with works ranging from Ellsworth Kelly to Max Beckmann (and beyond!), displayed seamlessly in a breathtaking, open space- complete with complementary pre-recorded messages chattering along in your ear as you moved from painting to painting. In a way, I enjoyed the fact that nine out of ten people accepted the audio tour without question, because that just meant I got an almost silent tour of the exhibit, just me and my thoughts- unless, of course, I was standing within three feet of any given person, because then I could hear the little electronic voices circumventing their ears and bouncing back in the air towards my own. That being said, it was almost impossible to not be within three feet, or even one foot, of any given person because the exhibit was so packed. Let me mention briefly the entire shop dedicated to the exhibit that greeted you immediately upon exit, filled with fashionable items for you to fill your home with to show your friends just how cultured you are. The amount of money that the museum must have made on this one exhibit, today alone, makes me weep. Side note: I have noticed that people are more apt to run into you and not pay any attention at all to where they are going when they are plugged in.
And I wonder- how in the name of all that is good is anyone supposed to enjoy art that way? Packed up against eachother like cattle, breathing in the same preconcieved lectures through our auditory senses? How much more can we be removed from art? I was under the impression that we went to museums to see art for ourselves, to think about art for ourselves, out of the contexts of books and historians and critics telling us how to think about art and what art means. To engage in discussions with eachother, to start conversations. But no, this was art as commodity more than I have ever seen before, a room full of alienated people looking at Cezanne and nodding along to their headphones and I wonder, what did they feel?
Well I feel ripped off. $22 for a ticket where I had to punch people in the face (almost) to get close enough to anything to appreciate it. It’s things like this that question my involvement in the arts. When my art becomes a commodity, I quit.
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After my last post, I talked out my options with a few people and decided that what was right for critique today was to leave the edges for this piece as they were, but I did decide to add the book element to my installation because I felt it was important to reference the written material in a direct way that forced the viewer into the piece and to interact with the piece. In a way, it’s also an echo of me trying to find a solution to my pick-up piece from last semester, where I was battling with the importance of the story and the relevance of performing the act of storytelling during the installation of the cloth. By replacing my voice with the book, which carries my voice for me, the viewer creates a sort of self-dialogue, a self performance. In this instance, I felt that the book installation was necessary to the experience of the piece because my current work is about not only the story or the body of work the words create, but the process of the writing itself. The book comes to rest approximately in the middle of the cloth, and is suspended from wax thread attached to a nail, which is driven through the top of the cloth nearer to the top.
I had an exceptionally good critique experience this time around. I feel like weaving crits are infinitely better and more sophisticated than any other crits I get at MICA, and I love that because I think the critique is so important to the development of the work. Good critiques inspire growth, and looking at others’ work and talking about it is an excellent source of inspiration. I admit I was surprised that no one mentioned my edges until my professor explicitly asked the group to address my decision in that area, which just goes to show how much can be said for the content of weaving before the technique is even considered. For the most part, the conclusion was that I should have hemmed the edges, but there was a solid dialogue of understanding that took place between all parties, those defending my silly edges and those pushing for a clean-up. What impressed me most was that while I have encountered critiques in which students have been very hostile towards me, attacking me, the artist, as much as my work, I find that in critiquing weaving, there is a deep respect for the intentions of the artist that allows for a significant amount of room for level-headed discussion.
All that being said, I always get excited with how much there is to be said about weaving. This morning my roommate asked me, what do you talk about when you talk about weaving? Essentially: How do you crit cloth? My reply was that a piece of cloth is just like any other piece of art, and should be treated accordingly. When we talk about art we talk about technique, craftsmanship, content and context, and none of this changes because the greater world sees what I do as craft. I always wonder how other people are talking about weaving, and what is being said, because I only get the perspective of the small bubble that is my classroom, where concept is the king. But I also think that a lot of people don’t know how to talk about weaving, so I thought I would share some notes from my enlightening night. (more…)
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Posted in Exhibitions, Weaving, tagged Good Feeling on February 3, 2009|
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Tonight was the opening for our weaving show. It was a moderate success, seeing as it wasn’t advertised, MICA failed to include it in the e-mail of weekly campus happenings, and maybe people don’t really understand or “get” weaving. The crowd consisted mostly of two types of students: those from the fiber department wandering downstairs to the gallery on their dinner break, and my wonderful, wonderful friends. So I consider that a personal success. I thought I would have more to say about the show, but I think that the issues dealt with here (weaving as art, yardage vs. concept, purpose of display, etc. ) are ongoing issues that I have talked about and will continue to talk about. For now, I just want to enjoy the show.
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Suddenly being a college student and an artist seems like a whole lot of work. Between 18 credits squeezed over the span of three days plus my workstudy assignment I have a lot on my plate. And I’m starting real life too! Yesterday was my first day interning for the wonderful and talented weaver Carly Goss of Baltimore and I couldn’t be more excited. There is so much potential for learning and professional development this semester that I’m practically bursting with the joys of adulthood.
Currently, my big project (besides those ever looming scholarship deadlines) is a new weaving show at MICA organized by Christina Day with the help of myself and several other fantastic and bright MICA students. The image above is a sneak peak at the image that will go on our invitation/postcard sporting the name of our show in classy pick-up fashion. I can’t take credit for the weaving, just the picture (and actually, the pick-up isn’t finished yet, so this isn’t the finished image), but I’m honored and excited to be a part of what I think will be an extremely interesting show that I hope will spark a lot of dialogue for students and staff here.
The weaving of the show title is the first part of what will be an on-going in-gallery performance of weaving, so for the length of the show each person whose work is represented will take a turn adding to the pickup, thus contributing to a live and relevant dialogue that evolves as people come to view the show. Exciting stuff. Even more exciting will be the moving of the loom from the weaving loft to the weaving space, especially since so many threads have already broken!
More to come.
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