Summary of Residency - June 2009 - AIB
Explore, explore, explore for first month at least.
Push my ideas further
Be expansive and wild - go with artwork, let it take me
Familiarize myself with history and movements in the craft/art world - the intersection.
Create the lineage for the work I do (what/ who am I referencing?)
Situate my work ( with visual language and vocabulary)
How to contain without frame
Possibly go in between painting and sculpture
What excites me
Wax as stiffener? Another stiffener?
Freestanding or curtains or wire supports?
Use chunks, strips, lots and lots of stuff, ropes, collect lots of ingredients
Artists to look into:
Robert Morris (floor sweepings)
Allen Shields in the 70’s
Helen Frankenthaler (color)
- rummage through the bones of history to see what informs your practice. Everything is legit.
- create lineage to situate work - have list of influences
- “That’s been done before” = bogus comment
- your work looks like painting process but not sculpture. Let go or stretched surface
- feminist discourse dismissed “pretty work” but this work is grounded in sensuality, sensory awareness, tactility
- what if removed hard frame?
- look at Scupture 1965-75 ( Whitney Catalogue) scatter installation - not crafted, an accumulation of stuff
- your color is incredible, painterly without paint - look at Helen Frankenthaler for color
- take frame away - address issue of containment less conventionally
- tree limbs? bird’s nests? Garden Design magazine
- take road trip to Storm King
Deb Todd Wheeler:
- think of David Byrne - just lets his words come out: “Stop Making Sense”
- do away with frame
- would it work to stiffen the cloth with wax? use wax as support? would lose transparency.
- perhaps wire? or curtains? Or Japanese screens?
- or hang and let blow in the wind
- right now are looking at them in the framework of painting. Could go in between painting and sculpture - could be interesting
- book to look at : Spectacular Craft. Push the craft.
- Art 21 Site, Lee Bonticou, Ann Hamilton
- Yes, look at Maya Lin and Richard Tuttle
- Anna Marie Travers - rooms of light
- gradient important in your work. Check out Ed Ruscha
- translucent . Check out Silver See
- look up visual pleasure . Laura Mulvy (?)
- try to get huge roll of white photo paper for studio
- color: Richter, studies for Cologne
- Glenn Adamson: Thinking Through Craft
- American Craft mag.
- Richard Sennett - The Craftsmen
- size and presentation need to be more unconventional, larger
- lighting would help
- let go of the frame
- hanging installation could enhance tactile nuance and could invite participation
- perhaps include something on the floor
- exterior installation might work
- flower references too literal
- take off wall
- push your envelope, this is great place to try and fail. Bigger failure, bigger success.
- check out scientific books that study light
- how about light boxes?
- poems, videos of sunrises, explore thoroughly, including cliches
- get rid of default that I fall back on in my art
- Sheila Pepe : crochet
- gather lots of materials, garbage bags full of stuff, arrange like stage set with pullies and ropes - create worlds
- make little clusters, lots of ingredients
- steer clear of literal
- notice whatever excites you visually - aerial views...?
- use naivete of child with intelligence/absurdity of adult
- let it all in
- check out: Rachel Harrison, Susan Sze, and Jessica Stockholder