Okay this one is really something.
I came across this today and it immediately reminded me of the video we were watching just last evening in class, the Barnstormers DVD. While it is just one artist, the high speed photography instantly reminded me of class.
Also the medium he's using is quite unique from any we have studied so far! :)
Feb 27, 2008
Call for Entries
Calling all Female Jewelry Students!!!
The Women's Jewelry Association is committed to empowering women in the
international jewelry, watch and related businesses. To this end, WJA
is offering Scholarships to female students enrolled in fine jewelry
and watch design courses in the United States of America.
To celebrate WJA's 25th year, we plan on giving a minimum of $25,000 in
student scholarships this year. For the first time, we have created two
different categories: the designer category, and the non-designer
category.
The Designer category is designed for those students in a studio
jewelry program who can apply with images of finished pieces that they
designed and created themselves.
You are required to provide the following to support your Scholarship
Application.
1. Essay: A short essay explaining why you wish to pursue a career in
jewelry or watches and your goals/aspirations for the future.
2. Images: (a) Three (3) digital images (no more) showing examples of
your most recent work. Rank them in order of the most significant.
(b) Provide a brief description of each of the numbered images
indicating materials used, size of piece(s) and what is represented
and/or significant about each piece.
3. Completed entry form.
For the first time ever, we have moved this application process
on-line. To access the application please go to:
https://www.callforentry.org/
Also for the first time, we have introduced a new category- the
Non-designer category. The Non-designer category is designed for those
students training to be a gemologist, jeweler, watchmaker or other job
related to the jewelry and watch making industry. Instead of applying
with images of finished pieces, this category is judged by an essay
competition. Please go to the WJA website for more information and an
application: http://www.womensjewelry.org/awards/scholarships.htm
If you have any questions, please feel free to contact the WJA office
at 708-361-6000 or e-mail Lisa Slovis Mandel at lisa@lisaslovis. com
Lisa Slovis Mandel
Lisa Slovis Metalsmithing
1730 Pacific Beach Dr. #3
San Diego, CA 92109
(858)490-1336
fax (858)490-1337
www.lisaslovis.com
The Women's Jewelry Association is committed to empowering women in the
international jewelry, watch and related businesses. To this end, WJA
is offering Scholarships to female students enrolled in fine jewelry
and watch design courses in the United States of America.
To celebrate WJA's 25th year, we plan on giving a minimum of $25,000 in
student scholarships this year. For the first time, we have created two
different categories: the designer category, and the non-designer
category.
The Designer category is designed for those students in a studio
jewelry program who can apply with images of finished pieces that they
designed and created themselves.
You are required to provide the following to support your Scholarship
Application.
1. Essay: A short essay explaining why you wish to pursue a career in
jewelry or watches and your goals/aspirations for the future.
2. Images: (a) Three (3) digital images (no more) showing examples of
your most recent work. Rank them in order of the most significant.
(b) Provide a brief description of each of the numbered images
indicating materials used, size of piece(s) and what is represented
and/or significant about each piece.
3. Completed entry form.
For the first time ever, we have moved this application process
on-line. To access the application please go to:
https://www.callforentry.org/
Also for the first time, we have introduced a new category- the
Non-designer category. The Non-designer category is designed for those
students training to be a gemologist, jeweler, watchmaker or other job
related to the jewelry and watch making industry. Instead of applying
with images of finished pieces, this category is judged by an essay
competition. Please go to the WJA website for more information and an
application: http://www.womensjewelry.org/awards/scholarships.htm
If you have any questions, please feel free to contact the WJA office
at 708-361-6000 or e-mail Lisa Slovis Mandel at lisa@lisaslovis. com
Lisa Slovis Mandel
Lisa Slovis Metalsmithing
1730 Pacific Beach Dr. #3
San Diego, CA 92109
(858)490-1336
fax (858)490-1337
www.lisaslovis.com
Feb 17, 2008
Open Thread--Share, What's Your Favorite...?
Artist:
Art Movement:
Musician/Music Group:
Animal:
Book:
Movie:
Game:
Destination:
_______:
Art Movement:
Musician/Music Group:
Animal:
Book:
Movie:
Game:
Destination:
_______:
Feb 15, 2008
from the KC homepage
In case you missed seeing the 2 letters from KC President Tom Choice posted on the KC website under "Campus Notices", here are the links:
Safety Information
Open Letter
Safety Information
Open Letter
Michelangelo, Vasari and their Contemporaries
Ever wanted an inside look at the working process of Michelangelo? Personally, I have a soft spot in my heart for Italy and the Renaissance. One of the best ways to understand the working mind of an artist is to study their drawings, notes, and sketches. From time to time the New York Times has great little slide shows that discuss art. This one talks about “Michelangelo, Vasari and Their Contemporaries,” by looking at the drawings they made.I like some of the points that are emphasized in the slideshow article, such as, If you could do a perfect drawing, he came to think, why bother to turn it into a painting or sculpture? For Michelangelo drawing was the most practical and personal medium; it was a laboratory, a diary, an end in itself. Additionally, the article implies that the development of great artists is a collective effort where each artist learned from and drew from each other’s ideas and creative efforts. Our different perspectives can be useful to each other so it is important to be open-minded to different art, artists, and art students. (Michelangelo, sketch of a head---right.)
Some of the pictures in the slide show (worth checking out) demonstrates the artists’ work ethic towards being great. From a teaching point of view, I have to chuckle at this quote from Michelangelo to a slacker art student, “Draw, Antonio; draw, Antonio; draw and don’t waste time,” he scrawled on a sketch he gave to a lackadaisical young pupil and studio assistant, Antonio Mini, in 1524.” No one worked half as hard as he did, and slacker artists made him nuts.
(Pontormo, sketch of two figures---left.)
The article also briefly touches on the political atmosphere of the city of Florence, Italy and how it influenced the work of artists during the time of the Renaissance. But most exciting to me is seeing how each artist interpreted the human body through drawing in an expressive and unique way to explore visual space and form. Check out the slideshow essay HERE!
(Pontormo, sketch of two figures---left.)
The article also briefly touches on the political atmosphere of the city of Florence, Italy and how it influenced the work of artists during the time of the Renaissance. But most exciting to me is seeing how each artist interpreted the human body through drawing in an expressive and unique way to explore visual space and form. Check out the slideshow essay HERE!
Feb 14, 2008
Feb 13, 2008
Mudslingers Pottery Sale- Valentine's Day
Just a reminder to everyone. The Kish Mudslingers are having a pottery sale TODAY and TOMORROW Feb 13th and 14th from 10am to 3pm. We will have tables set up on the B-side of the main lobby. As always a proceeds go to support the club and the students. This sale a portion of the proceeds will also be benefitting TAILS.
Hope to see everyone there.
Volunteer Artists Needed
The kishwaukee musical group is putting on the musical "The apple tree" and they need a life-size-ish cutout of the Oscar statue. I have large sheets of cardboard for use in the 3-D Studio. A simple way to get the silhouette is to project it onto the cardboard, trace it, cut it out and make it gold...those that have had 3-D can also make it a bit more dimensional too.
Due Date for the silhouette is April 15th.
They also need a hand-held Oscar too is any one interested on that.
Due Date for the silhouette is April 15th.
They also need a hand-held Oscar too is any one interested on that.
Feb 12, 2008
The Mysterious Art of Marilyn Manson
i just popped onto Marilyn Manson's webpage and found out he's got some new paintings up, they're worth a look if you're into his music or not!
Volunteer Commission Opportunity
I just received a call from a WWII veteran who would like to have help designing and creating a commemorative book mark for a museum. He wants to incorporate the human figure (medic themed) and text.
He lives in DeKalb and if you are interested, please let me know and I will give you his phone number.
He lives in DeKalb and if you are interested, please let me know and I will give you his phone number.
ZOHO Artform 1
This artist is abosultely phenominal! The pure time and delcacy of the work astounds me every time I see his sculptures. The following is a link to his work!
http://www.craftsmanshipmuseum.com/Ho.htm
-Sarah Jean
http://www.craftsmanshipmuseum.com/Ho.htm
-Sarah Jean
Feb 11, 2008
ARTFUL CODGERS
ARTFUL CODGERS
How a high-school dropout and his elderly parents fooled the world
Robert Fulford, National Post
Published: Tuesday, January 29, 2008
Shaun Greenhalgh, an Englishman whose furtive career has been unfolding in courtrooms, newspapers and museums for the last three months, may well be the most versatile art forger in history. He can do a convincing Gauguin, an 18th-century bronze portrait, a Barbara Hepworth sculpture or a broken chunk of Assyrian wall art. He finds it just as easy to do ancient Egyptian.
A high-school dropout at 16, Shaun taught himself painting, drawing, stone carving and several other techniques. Then, with the enthusiastic support of his family, he became an art criminal.
His story has been mostly ignored in North America because journalists here fail to see it as a saga of British craftsmanship and enterprise performing in a world where these qualities are insufficiently appreciated. In their lower-middle-class home at The Crescent, Bromley Cross, Bolton, Greater Manchester, Shaun's family has for many years operated a traditional cottage industry.
Alan Bennett should write the movie that must be made about them. Shaun, 46 years old, sounds like a failure-to-launch boy, living with his parents, from the stories Bennett has written for BBC radio. Shaun's Mom, Olive, 83, and Dad, George, 84, are both collaborators -- the Artful Codgers, one London newspaper calls them. Testifying in court, Mom claimed her work was purely routine, like making calls for Shaun because he's too shy to talk on the telephone.
In truth, Mom and Dad were the sales staff. (There's a brother, George Jr., whose role, if any, hasn't been determined.) Selling the forgeries, Mom and Dad presented themselves as simple folk who had inherited art that their parents or grandparents picked up cheap, long ago.
In 2002, Dad dropped in to the Bolton Museum to ask whether anyone would like to see a 20-inch-high Egyptian sculpture, which his great-grandfather had purchased in 1892 from the contents auction at the home of the 4th Earl of Egremont. It was translucent alabaster, and in photos it's pretty .
Dad suggested it might represent a daughter of Nefertiti. He guessed it could be worth £500 ($996). He brought along the catalogue of the auction, which his great-grandfather had fortunately kept. In truth, Shaun had found the catalogue. He used the descriptive details in its yellowing pages to make the sculpture.
Experts pronounced it authentic and Bolton Council paid £439,767 to buy it for the Bolton Museum. It wasn't local money, of course; it came from a national fund supported by lotteries. The museum people were quite chuffed. They thought the piece possibly worth twice that much. One museum employee called Dad "a nice old man who had no idea of the significance of what he owned." The sculpture remained on exhibit until one fateful day in February, 2006.
Excerpted - Read More
How a high-school dropout and his elderly parents fooled the world
Robert Fulford, National Post
Published: Tuesday, January 29, 2008
Shaun Greenhalgh, an Englishman whose furtive career has been unfolding in courtrooms, newspapers and museums for the last three months, may well be the most versatile art forger in history. He can do a convincing Gauguin, an 18th-century bronze portrait, a Barbara Hepworth sculpture or a broken chunk of Assyrian wall art. He finds it just as easy to do ancient Egyptian.
A high-school dropout at 16, Shaun taught himself painting, drawing, stone carving and several other techniques. Then, with the enthusiastic support of his family, he became an art criminal.
His story has been mostly ignored in North America because journalists here fail to see it as a saga of British craftsmanship and enterprise performing in a world where these qualities are insufficiently appreciated. In their lower-middle-class home at The Crescent, Bromley Cross, Bolton, Greater Manchester, Shaun's family has for many years operated a traditional cottage industry.
Alan Bennett should write the movie that must be made about them. Shaun, 46 years old, sounds like a failure-to-launch boy, living with his parents, from the stories Bennett has written for BBC radio. Shaun's Mom, Olive, 83, and Dad, George, 84, are both collaborators -- the Artful Codgers, one London newspaper calls them. Testifying in court, Mom claimed her work was purely routine, like making calls for Shaun because he's too shy to talk on the telephone.
In truth, Mom and Dad were the sales staff. (There's a brother, George Jr., whose role, if any, hasn't been determined.) Selling the forgeries, Mom and Dad presented themselves as simple folk who had inherited art that their parents or grandparents picked up cheap, long ago.
In 2002, Dad dropped in to the Bolton Museum to ask whether anyone would like to see a 20-inch-high Egyptian sculpture, which his great-grandfather had purchased in 1892 from the contents auction at the home of the 4th Earl of Egremont. It was translucent alabaster, and in photos it's pretty .
Dad suggested it might represent a daughter of Nefertiti. He guessed it could be worth £500 ($996). He brought along the catalogue of the auction, which his great-grandfather had fortunately kept. In truth, Shaun had found the catalogue. He used the descriptive details in its yellowing pages to make the sculpture.
Experts pronounced it authentic and Bolton Council paid £439,767 to buy it for the Bolton Museum. It wasn't local money, of course; it came from a national fund supported by lotteries. The museum people were quite chuffed. They thought the piece possibly worth twice that much. One museum employee called Dad "a nice old man who had no idea of the significance of what he owned." The sculpture remained on exhibit until one fateful day in February, 2006.
Excerpted - Read More
Feb 9, 2008
Surrealism takes the lead in ArtVote #1!
And with just 5 days left in "What's your Favorite Art-ism?", it looks like it will be lights out for Abstract Expressionism, which thus far hasn't received a single vote. Clement Greenberg must be rolling in his grave! Will 2nd place Post-modernism come up from behind to win the poll in the end, or will there be a surprise comeback from the Post-Impressionism category? You decide. You can cast your vote and check on results on the left side of the Blog page located under links. -Peace.
Feb 8, 2008
How-to-make contemporary installation art::Part1&2
Comedic Art Education TV Pilot in 2 parts on How to Make Contemporary Installation Art.
underground
By request, I made an underground arts blog for Kish: Kishwaukeeunderground.blogspot.com
feel free to join and post. It's for more than just students and staff, people all across the world can browse it and learn about us.
nifty huh?
feel free to join and post. It's for more than just students and staff, people all across the world can browse it and learn about us.
nifty huh?
Kishwaukee College 40th Anniversary Art Dept. Event
The college is celebrating its 40th anniversary with a big event and you are needed:
Friday, April 25 from 3-7 PM
There will be a lot of events on campus and we want to celebrate the accomplishments and the activities for the Art Department with an Open House Event. We have ideas (live, on-going studio demonstrations, food, hallway displays)...but we want to hear how you want to make the event a showcase for some of the y'know...so please share some ideas.
Friday, April 25 from 3-7 PM
There will be a lot of events on campus and we want to celebrate the accomplishments and the activities for the Art Department with an Open House Event. We have ideas (live, on-going studio demonstrations, food, hallway displays)...but we want to hear how you want to make the event a showcase for some of the y'know...so please share some ideas.
Feb 7, 2008
Chicago Trip
The A299 Sculpture class has planned an impromptu trip to Chicago for Friday, Feb. 15. The plan is to take the train in from Elburn that evening to see the ice sculpture and to go to a few opening receptions...or wherever...If you are interested let Carol-lynn know...details to follow as soon folks decide when to depart.
Feb 6, 2008
Creative Play, Concept and Process: From Photos to Ink
After making a series of self-portrait narrative paintings, I wanted to make an artwork that addressed issues of the greater world. I decided on the characterization of society's apathy to the realities of war. The plastic form of the soldiers gave anonymity to their identities, allowing the ideas to function symbolically more than exist as a specific event. So, I started to do some playful experimentation in composition, arranging the figures, changing the lighting, changing the camera angle. These are some of the results.
As much as I enjoyed the drama of the charging soldiers in the heart of the action, I decided a more distanced viewpoint would emphasize my idea more effectively. Likewise, I wanted to add a more human element to the composition, so I enlisted a model to pose for me.
I Adobe Photoshopped the lady into the composition, then got to work. Using the digital photo collage as my sketch, I decided to work in Higgins India Ink and colored Acrylic Inks on water color paper. First I drew the design lightly in pencil. Next I used a variety of brushes and black ink, emphasizing the linear aspects of the composition to give the image form. I painted a series of washes by thinning down the black ink with water using an egg carton as my mixing tray, and carefully worked up value section by section.
Defining form through value is much like the glazing process used in grisaille paintings of the past. Artists would begin in grey scale, focusing on light and shadows, then carefully glaze and build up vibrant colors in oil paint to add color to the image. The grays helped me subdue vibrant colors and organize the image through shading.
I was pleased with my ink wash painting but decided I would take it one stage further with washes of Acrylic Inks. Using my mixing carton, I blended and thinned down colors, testing the results along the way on scrap paper, then began working on the final image.
This work is quite small so I was able to achieve a finished drawing in just a few days. I normally work in oil paint but I have had a great deal of fun working in ink and playing with ideas in this fluid and fast-paced medium. I appreciated the abstractions the birds-eye viewpoint and stylized map brought to the design as well as the dramatic use of lighting.
I hope you enjoyed seeing a part of my creative process. Let me know if you have any questions.
As much as I enjoyed the drama of the charging soldiers in the heart of the action, I decided a more distanced viewpoint would emphasize my idea more effectively. Likewise, I wanted to add a more human element to the composition, so I enlisted a model to pose for me.
I Adobe Photoshopped the lady into the composition, then got to work. Using the digital photo collage as my sketch, I decided to work in Higgins India Ink and colored Acrylic Inks on water color paper. First I drew the design lightly in pencil. Next I used a variety of brushes and black ink, emphasizing the linear aspects of the composition to give the image form. I painted a series of washes by thinning down the black ink with water using an egg carton as my mixing tray, and carefully worked up value section by section.
Defining form through value is much like the glazing process used in grisaille paintings of the past. Artists would begin in grey scale, focusing on light and shadows, then carefully glaze and build up vibrant colors in oil paint to add color to the image. The grays helped me subdue vibrant colors and organize the image through shading.I was pleased with my ink wash painting but decided I would take it one stage further with washes of Acrylic Inks. Using my mixing carton, I blended and thinned down colors, testing the results along the way on scrap paper, then began working on the final image.
This work is quite small so I was able to achieve a finished drawing in just a few days. I normally work in oil paint but I have had a great deal of fun working in ink and playing with ideas in this fluid and fast-paced medium. I appreciated the abstractions the birds-eye viewpoint and stylized map brought to the design as well as the dramatic use of lighting.
I hope you enjoyed seeing a part of my creative process. Let me know if you have any questions.
Feb 5, 2008
Feb 3, 2008
"Unmonumental: The Object in the 21st Century"
When objects are neither a product, nor the subject in an artwork but a medium itself, what does this imply? These are issues raised about art and culture at the current show at the New Museum of Contemporary Art.
"My painting does not come from the easel. On the floor I am more at ease." (Jackson Pollock)A statement like that was a slap in the face of traditional notions of what art is and how it is made. Good art needs guts, risks, and free experimentation. Easel painting was too timid and conservative in these new times of wall-sized paintings.
Jackson Pollock at Work
"Living is more a question of what one spends than what one makes." (Marcel Duchamp.) Perhaps today's art is made by using what one has spent.
Marcel Duchamp with a "readymade" sculpture
Each movement in art is a reaction to the past and its updated response to what happens today. We live in a culture where endless information of any subject is at our fingertips. Rather than a movement of one, we are a creature of all. Just look at pop music today. Much contemporary art practices the art of appropriation…borrowing bits from here, a sample from there. Culture is pieced together into a society of Frankensteins. In a culture of abundance, how does art express who and what we are today?
“Unmonumental: The Object in the 21st Century,” s show that runs through March 23rd at the New Museum of Contemporary Art in NYC is one way of answering that question. I had the chance to visit the exhibit over winter break and I was excited and nervous by what I saw. The exhibit showcased 80 works by 30 contemporary artists.
Installation in "Unmonumental" show at The New Museum
The process of assemblage and collage were the dominant art process in the artworks throughout the museum. Art Critic Roberta Smith said it well when she wrote, “that assemblage-type sculpture, rampant at the moment, may also be today’s most viable art form. Why? It tends to be low-tech, modest in scale, made with found objects and materials and structured in ways that are fragmented if not actually disintegrating." Like in the days of the Baroque and Renaissance, art has a multi-media approach again utilizing all the visual disciplines together in spatial environment that is meant to be experienced, not seen from a bench. Are the boundaries between painting and sculpture disappearing?What does this mean for art students? I think it means today's artists don't have to choose between one medium to work with. Art made from traditional and non-tradition materials can be liberating and confusing all at once for students, artists, and art appreciators leading one to ask, is our culture learning?
While assemblage/collage is not exactly new, it seems an appropriate fit for today’s chaotic human experience. It does not bother me so much that art and trash/found objects are beginning to have more similarities between the two. Perhaps it is just the gravity of what that means for our lives. This discomfort this makes me feel is very important. “The main idea here seems to be to make art that looks like art only on careful examination, guided by the assumption that everything, every detail, is intentional and meaningful.”
I once had the fortune to hear art critic Jerry Saltz give a lecture and he said something interesting about how we approach art. There is art that you look at and go "WOW!.......huh?" And then there is art that you look at and go, "HUH?........WOW!" There is a big difference between the two experiences. Sometimes we get impressed by the surface of an artwork, until we realize that it is all surface. Good or interesting art can be a diamond in the rough, and at times need a second or third glance to come to appreciate.Like Duchamp said, “I am interested in ideas, not merely in visual products.” Well said, and with an exhibit such as this one, it hit the mark with a splat.
Subscribe to:
Posts (Atom)