Thursday, March 31, 2011
Wednesday, March 30, 2011
In the beginning, WordPress was a bit daunting, mostly because I didn't know how to control the application or where adjustments or nuances could be found. But in time I located the features I wanted and have come up with something. I'm still continuing to edit and tweak and what I like most is that I can enter and edit my site through WordPress's online access. This means I can access my site from any computer—at home, at work, wherever.
Ultimately WordPress is a lot like Blogger (what we use for GCVA) in that it is designed as a blogging tool. But with the correct edits and adjustments it can be turned into more of a full-fledged portfolio site.
This might be an interesting option for those with little web design or coding experience. It might be even more interesting for those who do. If you have your own site and domain name, you can import and use WordPress.org; if you just want a free site, you can visit WordPress.com.
Tuesday, March 29, 2011
Prior to his death at age 90 last week, Steinberg retired in 1991 from his position as professor of art history at the University of Pennsylvania. There, he was a Renaissance and Baroque scholar who wrote extensively about Michelangelo and others as well as on modern masterworks such as Picasso's Les Demoiselles d'Avignon, 1907 (below image courtesy of MOMA).
Steinberg deftly countered arguments by formalist critics such as Clement Greenberg by focusing on how subject matter, symbolism, narrative, as well as contextual information like pop and material culture, inform works of art as much as (if not more so) than their formal qualities. The author of The Wall Street Journal article Eric Gibson points out that Steinberg believed art was multi-layered. Gibson writes, "Undergirding [Steinberg's] examinations was the question, 'What is the artist trying to tell us?'"
"The Man Who Taught Us to See" is a great read. So much so that it makes me want to read more by Steinberg.
Monday, March 28, 2011
So when I recently came upon this site Product by Process I got stuck for a long time. It contains some great process videos and they are broken down by material and form along the right side menu. If you get some time or are curious how something is produced this is a great resource.
One of my favorite experiences recently was through Boris talking about the Invisibility of Pictures exhibition at hanover college. The video was shot when I was dying of the flu and couldn't make the trip up for the installation. So Boris talked about my work in the show (thanks again to Boris for all of your work on the show and to Boris and Darrell for making the drive to install). There is this beautiful moment where Boris says "Daniel's work, for lack of a better description utilizes some mysterious transfers". I just thought that was brilliant. So often as a printmaker you scrutinize over how its made or what process was used. I loved someone else talking about the work and totally stepping over that land mine of a process conversation.
So in the current world of art and fabrication do you think it matters how it is made?
For years it was a higher value for hand made works. For years it was design. It has always been through the cycle of trend. But does the process matter?
Thursday, March 24, 2011
Wednesday, March 23, 2011
The cost is reasonable:
Taking Art Class—$70
Any GC Student—$80
These fees cover travel and lodging, however there will be additional costs for meals and museum entry fees that will most likely be $30+.
If you have questions, ask Daniel Graham or Darrell Kincer for more details.
See you in Chicago!
Tuesday, March 22, 2011
The article gave a great description, along with seven principles of universal design, or, the "design of products and environments to be usable by all people, to the greatest extent possible without the need for adaptation or specialized design." The principles include:
simplicity and intuitiveness
tolerance for error
comfort and efficiency
appropriateness to size and space
How museum exhibitions are used is one key to understanding whether they are designed well. Correspondingly, to reach the broadest possible audience, and to be accessible and inclusive, considering universal design practices remains very important to the overall equation.
If you are an art major considering museum careers, I recommend checking out the AAM and its numerous resources. And, if you would like to see print versions of recent issues of Museum, feel free to stop by the Jacobs Gallery.
Monday, March 21, 2011
Thursday, March 17, 2011
Join AHRECO (Art History Reading Group) for the journey to Louisville to hear noted art historian, Linda Nochlin, who will lecture at the U of L. Details: leave GC at 3 pm, head over to the U of L/Speed campus. Lecture at 6 pm. Those who wish can visit 21C on the way home. Hope you can join us. RSVP to Dr. Decker by noon on 3/31. Also, join the reading group that day, as we'll review Nochlin's seminal essay "Why Have There Been No Great Women Artists?" All current students and alum are invited to join AHRECO that day!
Tuesday, March 15, 2011
Monday, March 14, 2011
A crazy expensive wreck makes a beautiful mess. A tractor-trailer hauling industrial printer cartridges rolled over closing the ramp onto the highway for 8 hours. No one was injured in the accident. But I image cleanup is going to be a bear. See a short video HERE
Thursday, March 10, 2011
Rural Decay: The Gentle Artistic Mind of Keith Neltner
Neltner shares insights on illustration, design and what it means to contribute to the visual community. E-mail firstname.lastname@example.org for more information. More Information:Phone: (859)391-5246 Where Otto M. Budig Theater, Northern Kentucky University, Highland Heights, KY 41099 When Thursday, Mar. 24, 2011, 7 p.m.- 8 p.m.
In thinking about this type of interventionist activity, I am reminded of the practice of "museum pranks". I insert below two events that were staged at the Metropolitan Museum of Art. In the first case, the more recent activity, a group aimed to bring attention to a "regular person's" physical similarity to that of Philip IV and, secondly, to heighten awareness about the newly re-attributed work by Velazaquez. In the second, agit-prop phenomenon Banksy interrupts the installations at the Met by adding his own works to the conversation. In the first example below, the activity was not sanctioned but seems harmless; in the second, there's no sanctioning but it aims at clandestine activity.
Above: An unauthorized autograph signing in the Metropolitan Museum of Art with an actor who resembles King Philip IV of Spain. Standing in front of the 400-year-old Velázquez painting, the "King" greeted museum goer, giving them free signed 8x10 photos of himself. See an amazing recap, with photos, here.
Above: British performance artist Banksy, who has been called "the Duchamp of our century."
Wednesday, March 9, 2011
|Shawn McPeek in a grand performance!|
|Linda Stein with Meghan Pate in a wearable sculpture.|
|Linda Stein speaks (and is animated) about her work.|
|GC branch of Linda Stein fan club.|
Tuesday, March 8, 2011
Taken by the Fog by Lisette de Boisblanc from Jennifer Schwartz on Vimeo.
This was one of my former students from UGA. This was her first solo show after graduation in 2010. It was basically an expansion of her of senior thesis show. She is so nervous in her talk. She was never good with crowds. But this should be an example for you seniors of what to and not to do. ( a lot of the latter in her little talk) But great presentation of the work and pretty ambition in scale, she has about 20 of the images you see behind her in the show.
Sunday, March 6, 2011
Great Exhibition Opportunity at the 930 Gallery in Louisville. It is FREE to enter so make sure if you can you do. I know there are a lot of you who could.
All the details and entry are HERE with a copy of them after the jump.
For those that are not familiar with the 930 it is an organization in Louisville that is a music venue, art Gallery, Church, studio space, and a floor for child development. They do lots of community service and community programing. Darrell and myself have exhibited there and they are wonderful to work with.
Sunday, March 27 at Midnight- DEADLINE TO ENTER
Thursday, March 31 - notifications emailed
Saturday, April 23 - Opening Reception, 7-10 p.m.
Friday, March 4, 2011
Join me for the ARTalk@LAL:
Hui Chi Lee was born in Taiwan. She was educated in art and art therapy in the United States. She practices drawing human figure on weekly basis. She is currently a lecturer in Painting and Foundations at the University of Kentucky. See: http://www.uky.edu/FineArts/Art/lee.php
Melissa T. Hall has a B.S. in Computer Science and Mathematics and a daytime career as a programmer. She started to focus on art photography while living in Florida. Lives and works in Lexington, Kentucky. See: http://www.melissathall.com
Dobree Adams is a contemporary fiber artist, a weaver. In 2003 she began exhibiting her photographs with her tapestries. As one of the founders of the Kentucky Women's Photography Network, she is involved with a Network documentary photography project featuring the Manchester Street/Distillery District. An exhibition of her work is currently at Headley-Whitney Museum and another is scheduled for 2012 at the Lexington Central Public Library. She lives on a Kentucky River farm north of Frankfort. See: http://www.dobreeadams.com/Dobree.html
ARTalk: LAL @ Loudoun House, March 8, 7pm – 8pm | Free
In the next few days, please forward any impressions, thoughts or questions about the artists or the exhibition.
organization that is fully accredited by the American Association of
Museums. The KHS mission is to engage people in the exploration of the
Commonwealth's diverse heritage by providing connections to the past,
perspective on the present, and inspiration for the future.
KHS has an undergraduate summer internship available with the Camp
ArtyFact program, a multidisciplinary studio arts program for students
ages five to 13.
Thursday, March 3, 2011
Wednesday, March 2, 2011
"Osterman is an artist, teacher, and guest scholar at the George Eastman House in Rochester, New York, and gives lectures, demonstrations, and workshops throughout the United States, Europe, and Japan. Her work is included in the collections of the Museum of Fine Art, Houston; the George Eastman House International Museum of Photography; and the Herbert F. Johnson Museum of Art at Cornell University, among others. She and her husband Mark Osterman produce The Collodion Journal, dedicated to keeping the art of wet-plate photography alive." (UK Art Museum Website)