Graduate Schools and the some of the Artist they Prodcue

It has been over a month since I started my research and I still cannot find anyone in a Graduate Program that I wish to work with; only people who have come out of certain graduate programs that I wish to work with. The more and more research I do the more and more affirming it is to me that I would rather go out and work for other artists and designers, while occasionally working on my own work in artists residencies.

Grade schools I am considering going to are:

Yale
For architecture /sculpture and design possibly painting. My reasoning here is many artists I look up to or draw from have been (along with the reputation that comes with a Masters from Yale). Most notably Maya Lin who has had a long successful career both architecturally and sculptural and current has a exhibition Systematic Landscapes at the Corcoran until late July.
Lynn Palewicz received her BFA here at MICA and now teaches occasionally here. Her work varies greatly yet somehow the sculpture, drawings, puppets, and self tattooing always return to photography.
Lynn Palewicz
Maya Lin
Some British Schools
Goldsmiths College and the Slade School of Art
Again many artists I look up to have gone here but most notably Anthony Gormley. A man whom wish to work with sometime in the near future. Who's entire volume of work, although formulaic at times, has evolved greatly over the years, exploring abstracted forms of his own body.


Another British School Royal College of Art
Most notable graduates for me are Darius and Downey who's' collaborative work is street of the sculptural kind, cleverly refurbishing old unused city infrastructure and reinstalling it. Each work, the subtle of absurd, holds the ability to shake an average city goer out of their daily grind and consider their surroundings.


In a future post I will be discussing Northern European school of Sculpture and Design, along with Artists and Design Studios with which would be wonderful to work with/for.

Tradeing Studio visits with Alexandra B. Arocho

Alex and I paced our studio visits a week apart. I visited her studio Saturday FEB 7 and she visited the next Saturday MAR 7. I met her in her studio at the bank on a cold and VERY windy day, she was busy prepping to work for when I left and had everything ready to present to me. I was handed her resume, bio and artists statements and we got down to business. Starting with a photo presentation of her past work, ALL of it way back into high school, although very informative it could have been shortened a bit. During the presentation our conversations wandered back and forth covering everything from artwork to childhood event and I would sometimes needs to guide get us back on track. But as we turned to discuss the work she had laid about on the studio floor most of what allowed me to discuss her current work was from the wandering discussions about family, friends and memories, and less about the work that had come before it. She looks uncomfortable in her studio not sure enough of the space to really make it her own, Nothing was hung up on the wall and she just had neatly organized stacks of everything. MY biggest suggestion to her would be to bring in all of her collection and set the up on shelves , in the windows, in piles on the desks and floors. Surround herself with memories, leaving half her space for the collections and half her space dedicated purely to making her work. As it is now things more things seem to be stored then used.

On her visit to my studio I was under prepared. Most of my work was spread out around my house hung up or in storage, with very little of what I have been working on this semester in the studio itself. Regardless of this fact the work I presented showed a clear timeline of evolution and the process I work with. Within my homes studio is a lab for experiments and exploration, filed with tools, books, magazines, and past works that dead ended. Overall the presentation went extremely well, Alex was able to grasp the leaps and bounds of the variety work presented because the studio was also filled with prints and objects from that are my inspiration my research. For future visits I would like to have a clean house to view the work display outside of the studio, while leaving the studio for the experiments and work that would benefit being seen with the research. I would of course have paperwork to give the visitors but would prefer to rely upon discussion to inform them of the work and space.

Quick review of Kohler Arts/Industry Residency

A quick short summery written for Cara Ober's Professional Development of the Visual Artist inspired by a talk by David East in my Hybrid methods class.

The Kohler

This artists-in-residence is takes place in Kohler Co. Pottery, Iron and Brass Foundries, and Enamel Shop, Is the nation leading manufacturer of plumbing and specialty products as well as a major producer and generators and four-cycle engines. It is located in Sheboygan Wisconsin. This particular residency is funded by both the John Micheal Kohler Arts center, Kohler Co. and The American Foundation for the arts. This residency is FREE ONE HUNDRED PERCENT free. Nearly everything, Housing, materials (as in hundred and hundreds of pounds of clay, enamel, iron,(if you use More then hundred pounds of bronze it will cost some). All work you make is yours to keep and the Arts center asks only that the can photograph it in its finished form on 35mm film (they will give you copies) and that you donate a single piece to the Arts center. Four artists are in residence at a time. anywhere from 2-6 months, they strongly suggest you stay at least 3 months. They even pay for some transportation costs(even though they encourage you to use your own car). Literally unbelievable.

"Participants are exposed to a body of technical knowledge that enables them to explore forms and concepts not possible in their own studios as well as new ways of thinking and working."

This means you have access to all the industrial processes, and materials. To put this in perspective when you ask for plaster they do not give you 100 pound bags, they give you 1,000 pound bags. Not only that but you all so have access to all the library of tools and techniques that past artists have created while there. You may apply and go multiple times in during your life. Hundreds of emerging and established visual artists have benefited from the Arts/Industry program at Kohler Co. since its inception in 1974. Applications are accepted year-round, but there is a deadline of April 1 for residencies in the following calender year. One does not need to know about any of the processes, you only need to be able to pick up and learn things quickly, because once they teach you your on your own when it comes to making your work. Artists can make plans to have assistants and sometimes there are resident interns to help, but overall its all about here are your tools here are how to use them and play with them, go work.

TO submit a proposal, one would need to send the following to:

Arts/Industry Coordinator

John Michael Kohler Arts Center

608 New York Avenue

Sheboygan, WI 53081

The application process requires 1) Completed application form(background information, past employers so on) 2) your current resume(two pages). 3) 20 labeled slides or digital images (300 dpi,, 4x5, jpegs) 4) Brief proposal (200 words) 5) Cover letter explaining relevant qualifications, why the industrial facility is appropriate, the extent of your experience in the materials and process you wish to use, and a brief about your work-e.g., aesthetics, working methods, etc. 6) SASE 7)(not mandatory) the application may include, drawings of the works you wish to undertake, publications, reviews, or catalogs you find pertinent to your application.

You can find much more in depth information including the Application and Brochure for the program. fallow this link Arts/Industry Program.

Here is a Pdf of the 2008 Artists in residence.

Do to the fact that much of my work and much of who I am is all about learning/experimenting with new tools, materials and processes; along with a tendency to create multiples, and layered paintings/objects, I believe an industrial setting is absolutely perfect for me to work. A whole INDUSTRIES worth of tools, materials and Knowledge FREE to use, learn and exploit to my hearts content would allow me to simply explode my volume of work. One day I am sure I will wish to refine many things but as I am now I prefer to barge my way into new disciplines and put myself on the receiving end of information and work overload, creating work with tools and process I have very little to zero experience with. Making this way is what provides me with the largest sense of accomplishment personal well being. And most importantly one is not limited by costs, size, or experience at this residency. Allowing artists to simply explore.I believe I would leave this residency with a giant body of work, and tremendous amount of new skill sets, and eye hungry to refine. Both clay and metalwork are materials I have limited experience with but the little I do know I constantly find myself reusing and evolving. As someone who wishes to walk the line of Fine artist, Craftsmen, and Designer I believe such an experience will have profound effect on how deal with all my work and merge these oaths together.

All the images seen here are photographs of artists Tetsuya Yamada's Installation Chant: Beyond the Ready-made. in 2004. All of the work which he made in only 3 months. Casting molds of the molds used to create plumbing.

My research Proposal for Hyrbid Methods

I am and have always been interested multiples, layers, duplicates, doppelgangers and so on. I am also drawn to nature, most predominantly trees, forests, and nests of all kinds. In the past micro and macro have drawn my interests and still do in many ways. I struggle match together the density of multiples with the wonderful beauty of minimalism; Simplicity and complexity together in one work. The things that I am excited to work with in this second half of the semester are the combination of wood, woodwork, and light (installation of LEDS and CFLS), along with ceramics to create both sculpture and installations. In ceramics I wish to apply what I have learned this first half to explorations of paperclay porcelain translucency, along with extruded forms that can be repeated over and over and combined in various ways. I both organic forms and geometric interest me but I believe I should pare it down a bit.

Some research I have been doing.

Some interesting porcelain lights from German artist/designer Luara Pregger

I find her "Alot of spoons" an wonderful exploration inline with my tendency to collect, design and display.

more on porcelain later.

HERE are some resoucres i have foudn when it comes to Paper Clay

PAPERCLAY blog is devoted to giveing people tips and tricks on anything there is to know about paper clay. From how to mix it to what paper fibers can be found and used, and some interesting ways of useing the stuff.

And here is an ariticle from CeramicsDaily investigating all the specail properties and characteristics of paperclay porcalien.

And finally two links about Plants
First off is an example of a Ceramic planter combined with a light source, by isreally design team Studio Schulab

A post on the 10 Most Magnificent Trees in the world. They tug at something deep down within me.

Quick Update Stool Prototype

The pink foam is the rough shape of the stool seat that will eventually be oak. The purpose of this was to find the the angle of the legs relative to the different wholes drilled blank.
More updates to come soon.

My view on ethics Trying to put it in words

The ethics of art
will always be in constant flux, one can only live true to themselves and what they feel. The great and wonderful thing about art, is that anyone and everyone can and will have a different view of the work. As artists we can do our best to shape how we want our viewers to react but it will never be one hundred percent of the time. My view is screw ethics in art, trust the artist to go as far as he or she is willing, trust them to make their decision because they are placing it out there for you to view and at that point what how you react is up to you. So your own personal views apply and if you are willing to to do something atrocious to make a point then fine, some may support it, or others may simply trash you. Anythings gos... It is your job to put things in context and set your boundaries. Everyone else, every institution, gallery and so on will set their own standards and view your work regardless of what you think or meant. You are free to do anything, be aware of what boundaries you are crossing though. Never just do it because you can, be purposeful.

On appropriation in art. Once you put something out there for others to view its no longer yours.
I becomes and experience, a idea and a thought of it own. You should want others to pick your ideas up and engage with them, if they then choose to use your artwork, your ideas in there own work that's fine. Someone may do it better, some may just be trying to make a profit off of you, but really I just see this as a driving force allowing you / forcing you to move and evolve. One can grab from others work as much as they please, but fair warning again to much borrowing leaves you stagnant not able to develop things yourself. GROW barrow, give, help others. Use the transparent business model don't guard things or techniques because there "yours" they should be used to everyone.

The worst thing anyone can do especially as an artists, is to make a spectacle for just because they can, Just because the controversy makes money. Just to attract attention. It is up to us as an Audience to say no, it is up to us to give our full feed back feelings and all (Anger hate, hate it love it) back to the artist so they know they can learn from their mistake, or continue to grow their genius.

Keeping things real, serious and beautifully done. Highlighting life and death, in the name of beauty, soem may find this horrid. I love her the choices to she makes when it in what eeds to be shown and what doesn't. The very fact that she exploits these natural rythms is what gives her work a charge.

http://www.catherinechalmers.com

A Quote from musician Stuart Davis that some up my view of ethics well.

"Ethics does not prohibit or proscribe any particular behavior. Ethics are codes of conduct observed by people. What's ethical depends upon the people. This is not relativistic mumbo jumbo. This is just to say ethics require mutuality. Do onto others as you would have them do to you. And then do it again.

It is ethical, for instance, for three consenting adults to play Naked Twister at the Holiday Inn Bemidji, provided they are conscious of the choice and its implications. The catch is that last part: Provided they are Aware. Of what they're doing, why they're doing it, who it will affect, and how it will affect them. That's a lot of shit to keep track of. It's a damn calculus problem. In fact, one almost never encounters such mutual clarity." To read the complete writing click here.

Kings of Power 4 Billion % from Zarradeth on Vimeo.

fairly certain that this is amazing in the overwhelming sense