Wednesday, November 30, 2011
Tuesday, November 29, 2011
|Profs. Darrell Kincer, Sheldon Tapley (Centre) and Daniel Graham|
|Prof. Boris Zakic with Manifest Gallery Director and Prof. Jason Franz|
|Dialogue discussants Boris Zakic, Andrea Fisher (Transy), Esther Randall (EKU), Kristina Arnold (WKU) and Jason Franz.|
Monday, November 28, 2011
|Adara Sanchez Anguiano|
Wednesday, November 23, 2011
Tuesday, November 22, 2011
|Danielle Cinderella, Ryleyanne Vaughn, Shawn McPeek and Department Chair/Advisor Dr. Juilee Decker|
|Danielle speaking about her process.|
|Dath and visitors enjoying art.|
|Ryleyanne sharing her concept.|
Monday, November 21, 2011
This past week I was took part in a conference event hosted by The OLVDA (Ohio Valley Lumber Dryers Association). It is a unique organization of some of the knowledgeable individuals. This was my second event to be involved with them and it was fantastic. On this trip I was able to tour a wood veneer factory, a custom plywood plant, and an international lumber drying and shipping yard. All three were amazing. It really struck me about how far materials have to be processed before they can be put into our artistic process.
Recently in my artistic practice and process research I have been investing a lot of my time into traditional veneer techniques so the veneer factory was super fantastic to see in action, not just in text form (as I have become familiar with it). The trees are debarked split into "flitches" (half logs), then put back together and soaked in super hot water to soften the lignin. With the molecular structure of the logs softened they can then be sliced into sheets, these are then dried, trimmed and reassembled into full panels through a heat cured gluing process. This is done for the front and back of every piece of plywood you see. The middle core processing is a whole other process altogether. Different logs and species of wood require different types of slicing and assembly.
Sunday, November 20, 2011
Thursday, November 17, 2011
Wednesday, November 16, 2011
And if you're there, stop by Ann Tower's gallery to see the work of my friend Chris Segre-Lewis from Asbury University. He has a show entitled "Western Vistas," featuring large-scale oil paintings of landscapes from the American west. Chris's work will also be featured here at Georgetown in the upcoming State of Drawing exhibition.
Tuesday, November 15, 2011
|Boris Zakic, Boy and a Goose (Boethus, verso, part I) |
conte over indigo/white wash, pen and ink on paper
Tuesday, November 22, 2011 from 5:00-7:00 p.m.
Monday, November 14, 2011
I thought it was a fascinating idea and I wonder if it could have happened in this day and age. In some ways it would be much easier to retreat as long as you had access to the internet. But to find the commitment to cut off completely or to have the drive to be in a selective community is something completely different. I just thought it was an interesting story within the story of art history.
Read the full text HERE
Friday, November 11, 2011
“Memories of a Plan(e) Maker. Perhaps there are two planes, or two ways of conceptualizing the plane. The plane can be a hidden principle, which makes visible what is seen and audible what is heard, etc., which at every instant causes the given to be given, in this or that state, at this or that moment. But the plane itself is not given.
There are only nuances of this first conception of the plane. -- It exist only in a supplementary dimension to that which gives it rise (n+1).
Then there is an altogether different plane, or an altogether different conception of the plane. Here, there are no longer any forms or developments of forms; nor are there subjects or the formation of subjects …. only haecceities, affects, subjectless indivituations that constitute collective assemblages.”*
“look at those in-betweens and paradoxes”**
*from Becoming-Intense, Becoming-Animal…, p. 265-266. Deleuze, Gilles, and Felix Guattari. A Thousand Plateaus. Trans. Brian Massumi. Minnesota UP, 1987. Print.**Chris Boyd, curator's commentary from vimeo trailer Chaosmos 20TEN, release Nov. 2011, Concrete Films Ltd. concretefilms.co.uk, Liverpool.Merseyside. ***image featuring Gordon Cheung (front) Chris Boyd/David Ogle (background). image source: Concrete Films Ltd.
Wednesday, November 9, 2011
Frankfort, Kentucky (November 9, 2011) – Kentucky Monthly magazine is
seeking college students’ photo submissions for a “Campus Life in
Kentucky” pictorial feature in the February 2012 issue. The magazine is
interested in showcasing Kentucky colleges and universities from the
perspectives of the students. Favorite campus activities and locales,
best study spots, favorite faculty members – basically anything that takes
place on a Kentucky college campus and is appropriate for a
family-friendly magazine – is welcome for submission. The contest is open
to all actively enrolled students of Kentucky colleges and universities.
Arial…has a rather dubious history and not much character. In fact, Arial is little more than a shameless impostor. —Mark Simonson
I read Mark's enlightening commentary on Arial a while back. For those who have an interest in typography, I encourage you to find out why so many designers despise this ubiquitous font. To read his article, click HERE. To know how to spot the difference, click HERE.
Tuesday, November 8, 2011
The Louisville Visual Art Association (LVAA) internship program welcomes students and recent graduates who wish to supplement their education and professional experience by working in a not-for-proﬁt arts organization.
|Forger Wolfgang Beltracchi, left, in court, and the alleged forged paintings by Derain (centre) and Leger (right). Photo courtesy of The Art News Paper, Issue 229, November 2011|
Published online: 03 November 2011
Monday, November 7, 2011
I recently saw a video on the metropoliton museum of art website for Islamic art curator Navina Haidar where she "extols the implications and aesthetics of the broken or incomplete". Great 4 minute video that tours the viewer through a collection of fragments in the museums collection. Beautifully photographed fantastic objects that really do create their unique narrative through there partiality.
View video HERE
I had a professor in college named George Ferrandi who had a huge impact on me. I remember one day a students getting into a debate over the visual elements and choices of a particular artist that was in the gallery at the time and George chimed in with the question. "What is more beautiful, a porcelain doll, or a porcelain doll that has been broken and put back together?" As a young undergrad just getting into art this question really challenged me. Not just for the aesthetic debate but also the question of intentionality. I responded with a question, asking if the person broke the doll on purpose? Was it found or was the person assembling it the original owner? For some those things didn't matter. But they did to me in order to form an opinion. To this day I believe that the development of context and a conceptual framework is so important to the works in which we view. Of course there are some minor exceptions I have found myself in the middle of but they are very rare.
I found Navina Haidar's statements to be really interesting, especially in the context of her job as a curator. The ideas of self producing narratives with incomplete objects, filling in gaps with pleasure rather than questions, I found these practices fascinating to me. She talks about the cultural context that weighs upon finished works falls away when things are abbreviated. What an interesting thought that the less information you have the more liberated you can be.
Friday, November 4, 2011
Thursday, November 3, 2011
Wednesday, November 2, 2011
Lecture: 4 PM, Worsham Theatre in the Student Center at the University of KY (Euclid Ave & MLK Blvd, Lexington)
Exhibition: October 9–November 13, University of KY Art Museum, Singletary Center
"Mark Klett walks in the footsteps of nineteenth-century photographers who journeyed to the great wilderness of the American West and created iconic images that helped define us as a nation. His work at locations like Yosemite National Park and the Grand Canyon examines the intersection of time and place, analyzing how we conceptualize both.
Klett, who trained as a geologist, takes a long view of the landscape. In 1977, he and two colleagues began the Rephotographic Survey Project. Looking at photographs made a century earlier, they located the exact vantage points used by Carlton Watkins, William Henry Jackson, and others, and then meticulously rephotographed the view. The old and new images, published side-by-side in a 1984 book called Second View, revealed both enduring geographic features and the human impact on the environment.
In recent years, collaborating with Byron Wolfe, Klett has created large scale panoramas that merge his own photographs with historic views, uniting past and present in a visual continuum. In Rock Formations on the Road to Lee’s Ferry, AZ, two black-and-white 1872 photographs by William Bell are seamlessly inserted into a contemporary digital color image of the scene. The road through the sun-bleached desert eerily disappears in the old photographs and humans sitting on the ground are dwarfed by dramatic rock formations. In the present day, a camper chugs out of the past in a terrain that has barely changed in one hundred and thirty years, save for that stretch of blacktop.
Klett has expanded the range of historic images he uses to embrace classic modernist photographs from the 1930s by Ansel Adams and Edward Weston, vintage postcards, and historic drawings and sketches. However, he continues to meld old and new, creating a sense of past and present co-existing.
Klett’s work has been exhibited and published nationally and internationally for more than three decades and is part of the collection of more than eighty museums worldwide, including the National Gallery of Art in Washington, the Whitney Museum of American Art in New York, the Victoria and Albert Museum in London, the J. Paul Getty Museum in Los Angeles, the Stedelijk Museum in Amsterdam, and the Tokyo Metropolitan Museum of Photography. He has received fellowships from Guggenheim Foundation, the National Endowment for the Arts and the Japan/US Friendship Commission. He is the author of thirteen books, including Saguaros (2007); Yosemite in Time (2005); and Third Views, Second Sights (2005), a follow-up to Second View: The Rephotographic Survey Project (1984). Klett is Regents Professor of Art at Arizona State University in Tempe." from UK Art Museum website
Tuesday, November 1, 2011
|Artist Barry Jones during "Please Call Stella" installation.|
|Artist Kell Black speaking with Portia Watson at the Opening Reception.|