Things have been slow around this blog, but not in real life. My MFA Thesis is about to go up. SO I would just expect sporadic posts here and there. I apologize for the inconsistency, but it will all be over soon! Thanks for your patience.
-Claire
Thursday, April 21, 2011
Monday, April 11, 2011
From the Singapore Biennale 2011
Arin Rungjang
Roslisham Ismail aka ISE
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Kayde Anobile
So this is a photographers, but you can enjoy it none the less.
"Identity is in many ways dependent on perception. It can be manifested in one way yet be perceived completely differently. The various personas of a person can be both solid and elusive at the same time leading one to question just how well we know ourselves, how well we know others and vice versa. "Creatures" is an on going series of photographs and installations based on these ideas using the myth of the Yeti. By creating a genderless representation of this supposedly non-existent mythological being, my creatures inhabit an in-between space. I am addressing these perceptions by questioning the validity of a "solid" Identity." [Kayde Anobile]
Friday, April 8, 2011
Wednesday, April 6, 2011
Monday, April 4, 2011
Lots-o-Links
Jerry Saltz: How a Joyride in Gavin Brown’s Volvo Became Art
Robo-Rainbow, for those of us that need a little sunshine today
The Day of VW Posts I guess, Brazilian Situationism
Insideout (Just is case you haven't heard yet)
Ai Weiwei Don't swallow the shells
The Best Vending Machine for the frustration of the day, two please.
Sitting pretty higher than the pine trees growing tall upon the hill.
Interesting Specimens
Poor Me & others
Rachel Hayes
One half of the pair of visiting artists at the University of Cincinnati this coming week. Rachel Hayes works in large installations.
"Upon entering a room full of my work, one might first notice color, scale and structure. My palette consists of various manufactured transparent fabrics and translucent plastic vinyls which I layer on top of one another, resulting in the creation of new colors. The top layer of material masks, consumes or transforms the underlying materials, changing their original properties. It has been suggested that I use the tactic of bait and switch, luring the viewer with visceral color and sensuous materials while introducing other issues to ponder. These works are not only color studies - the material itself has a rich history and suggestive nature which I capitalize on. The fabrics and vinyls are not only objects with boundless properties for manipulation, but also signifiers of gender, fashion, decoration, gesture, etc. For example the vinyl may be seen as 'sexy' while the transparent fabrics are more 'passive' or feminine. I manipulate these materials, considering their suggestive nature and nuance, while also concentrating on painterly and sculptural concerns such as form, line, color, space, surface and texture. The work often takes on a large scale, creating tension between the sewn, somewhat delicate materials associated with 'women's work', and the aggressive architectural context more commonly associated with 'masculine' modern art." 2003
Sunday, April 3, 2011
Karla Black
Karla Black - statement
While there are ideas about psychological and emotional developmental processes held within the sculptures I make, the things themselves are actual physical explorations into thinking, feeling, communicating and relating. They are parts of an ongoing learning, or search for understanding, through a material experience that has been prioritised over language.
The finished work has a looseness and messiness that is allowed to exist within an overall attempt at simplicity, purity, cleanness or smoothness. The sculptures are rooted in Psychoanalysis and Feminism; in theories about the violent and sexual underpinnings of both individual mental mess, as in neuroses and psychosis, and the formlessness of specific points in art history, i. e. German and Abstract Expressionism, Viennese Actionism, Land Art, Anti-form and Feminist Performance.
Materials I have used include medicines for minor ailments, packaging, old clothes, carpets, foodstuffs, household cleaners, toiletries and make-up. These softer elements are often used along with harder or more structural and traditional art-making materials like plaster, glass, wood, cardboard, mirror, paper and paint.
Recently I have taken the formless materials through a process of tentative repression, and have been concentrating, through very specific colours and qualities of surface, on the level of attractiveness in the various sculptures made. There is often a physical struggle involved in arriving at the structure of a sculpture that then solidifies itself into an idea about, or an overall attitude towards what could be called conflict resolution or emotional and practical/technical problem-solving. Known rules and techniques are intentionally not learned or adhered to. Instead, more haphazard, individual methods are found. This can be seen in the sculptures as evidence of touch or something close to performative gesture. The hope is that the work can elicit at least an impetus towards physical response.
Essentially, then, I make different configurations with or from mess or formless matter (that which is in a pre-object type state), and from waste or used materials (that which is left post-object) , as well as from straightforward art store materials. None of the work is purely gestural, since there is always intent, a support (plinth/frame/stage/structure), and evidence of a decision-making process; the finished things are almost objects, or only just objects. While nearly being performances, installations or paintings, the works actually retain a large amount of the autonomy of modernist sculpture. However, what exists in between mediums attracts me. This area of study feels like a place where negotiations begin; somewhere that I can go to listen as well as speak. It is important, however, that what the work becomes in the end is sculpture. Sculpture as a category is its root, its limitations and its discipline. This is because sculpture is real. It is completely in the world, and therefore has the capacity at least to attempt to withhold the offer of travel elsewhere through an imaginary optical/ cerebral escape or engulfment. Sculpture inherently lends itself to forcing an initially physical/emotional acceptance, confrontation or engagement.
The work is, to a certain extent, site specific in that I respond, albeit vaguely, to a gallery space or at least think about where the objects will end up before and during making them. The sculptures are never really finished until they are in place, and are often unavoidably destroyed or broken when an exhibition is over, then remade slightly differently elsewhere.
My way of an introduction
I have never, ever claimed to be a writer. Thus said, I have found that there does not seem to be a blog about contemporary sculpture that satisfies my need. I frequent a lot of art blogs, but the are mixed an muddled with all sorts of mediums. That is not a bad thing, but I want somewhere to rest my weary head that is familiar, that is home. So here is my record of work that I have seem in person discovered online or read about that I love like or hate. Do what you want with it.
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