Does Making Art Make you Crazy or Does Being Crazy Make you an Artist? Part 2

March 18, 2010

No Guts No Glory: Read this article and watch the video clip

The Art Newspaper TV crew take a look at Volta NY 2010, the American outing of the fair of the same name born in Basel in 2005. Coinciding with The Armory Show, and this year entitled ‘No Guts No Glory’, the fair continued it’s challenging format which sees each booth dedicated to a single artist. This year, performance art proved a popular choice and perhaps most notable was Todd Pavlisko’s work in which he nailed one of his own feet to a wooden floor. Be warned this film contains and excerpt from the video of this graphic work. Interviews by Jean Wainwright. see video at http://www.theartnewspaper.tv/content.php?vid=934 and Pavlisko’s work is featured from 04:56-06:45 during the 10:12 video.

Wow. This video clip left me speachless, which is unusual for me. I am going to need more time to ponder this one,  but I think that my initial reaction is compassion and admiration. Compassion because I  think we all understand the idea of wanting to prove something to yourself and admiration for people that have the courage to do it.

Marina Abramovic

March 15, 2010

I subscribe to the Art Newspaper’s weekly digital edition and I came across the article explaining Abramovic’s current exhibition at MOMA and I was so moved that I have been trying to convince my husband that we should fly up to New York just to see the exhibit.

I have not had very much exposure to performance artists, so her exhibits and way of thinking caught me completely off guard. And I LIKED it!

I love the idea that the audience can actually take part in her work, it is actually something that I try to incorporate into my paintings and possibly one of the reasons I enjoy quilting so much. I feel like my work is worth more when people can really experience it.

If anyone has been to her latest exhibit I would love to know your thoughts and if I should make the trip.

Article in this week’s Art Newspaper

March 15, 2010

Museum of Modern Art (MoMA)

Marina Abramovic: the Artist Is Present Click for preview Click for picture

Dates: 14 Mar 10 – 31 May 10
For her first major museum retrospective, veteran performance artist Marina Abramovic will spend more than three months in the Museum of Modern Art’s large second floor atrium sitting at a small table.

For hours a day she will sit in silence, while visitors can take an empty chair across the table from her and become part of the performance. “The title of the exhibition is ‘The Artist is Present’. I wanted to take this literally and make my presence visible during the entire presentation,” Abramovic told The Art Newspaper a month before the show’s opening.

Abramovic is known for her physically and mentally demanding work, such as when she spent 12 days living on public display in Sean Kelly Gallery for The House with the Ocean View, 2002, and this performance is no different.

Her preparations for the project include a strictly regulated vegetarian diet, and although she is likely to be surrounded by milling crowds in the museum, Abramovic will not speak or respond to anyone during the entire run of the exhibition, an experience she likens to “going into seclusion in the middle of New York”. “It’s a huge experiment and I’m very nervous.

It doesn’t just depend on me, it depends on the public,” she said, adding that she hopes the labour will result in some kind of discovery between the artist and the audience. “In durational performance, you can’t pretend; some kind of truth comes out.” Abramovic’s interest in documenting her work is such that the entire performance of “The Artist is Present” will be recorded using three video cameras—one showing a close-up of the artist, one a close-up of any visitor sitting opposite her, and one a wide angle of the gallery—and a photographer is on hand to take a portrait of every person who participates. While Abramovic is camping out downstairs, the upper floors of the museum will be occupied by other artists and performers recreating some of her best known earlier works each day.

These include Imponderabilia, 1977, in which a nude man and woman take up opposite sides of doorway so that visitors must squeeze between them to get through, and Luminosity, 1997, in which a female nude is suspended high on a wall and dramatically lit as a “living” work of art.

Helen Stoilas

New Goal: Trying to Post More :)

March 15, 2010

I have been so busy that I have not posted in a very long time. Good news an article and brief comments to come!

Art and Fear Review by Marion Boddy-Evans, About.com Guide

February 25, 2010

The little 134-page book Art and Fear: Observations on the Perils (and Rewards) of Artmaking written by David Bayles and Ted Orland is one of those books you want to tell everyone you know to read. It deserves cult status among artists, to be passed from hand to hand as a well-read copy that every new reader devours (though you may find it hard to lend out your copy and instead might just let your friends dip into it when they visit!).

Why Should You Read “Art and Fear”?
Why do I believe Art and Fear is such a good book? Because it gets straight to the issues that matter so much and hinder our development as artists, such as why you’re not painting, why so many people give up painting, the gap between the potential of a canvas and what you produce, the belief that talent is essential.

Art and Fear is not written specifically for painters, but for any creative field, whether you’re a writer, musician, or fine artist. But despite this a painter will feels as if it’s talking directly to them, addressing issues painters have. It’s written in a straightforward, no-nonsense, entertaining manner (and totally lacks psycho-babble or high artspeak).

Who Wrote “Art and Fear”?
The authors, David Bayles and Ted Orland, are both artists (actually, they describe themselves as “working artists”; an interesting and important distinction from just an “artist” you come to appreciate as you read “Art and Fear”!). They have drawn their observations from personal experience. They say in the introduction: “Making art is a common and intimately human activity, filled with the perils (and rewards) that accompany any worthwhile effort. The difficulties artmakers face are not remote and heroic, but universal and familiar. … This book is about what it feels like to sit in your studio … trying to do the work you need to do.”
(http://painting.about.com/od/productreviews/fr/Art_and_Fear.htm)

I thought this was a great article to share because this book is great and it is so easy to relate to.
In college I stopped creating art for a grade or for people to look at and just starting creating because I like it and it helps me express myself.

This book really helped/helps me to keep working.

How to paint abstract art

February 24, 2010

I decided to google search for some art techniques that I could review and even write a little about. And I found an article titled “How to Paint Abstract Art” and it made me laugh out loud.

I have always painted to express myself so I was highly amused that someone was trying to explain how to paint in such an expressive way. It should be easy right? You just work through what you are going through in paint.

The article explained several steps and paint recommendations to use when making abstract art. Then it described some of the possible results.

Overall it was still a little funny to me for someone to describe something that I just do. I dont really think about it, because painting is an outlet for me and it just happens.

Creating for a Cause

February 22, 2010

I found an article today in American Patchwork and Quilting “Quilting Changes Everything” and I thought I would share it with everyone.

Basically, this charity makes and donates fun pillowcases to children with cancer who are in the hospital to help make their stay a little more chearful.

Here is the website and you can either donate or make pillowcases. Such an easy project for people that sew that has such a huge impact. http://www.conkerrcancer.org

Untitled “Big Man”

February 20, 2010

I find it interesting that Shaq picked the sculpture below to add in the art show he is curating. I actually saw this sculpture when I was in DC a few years ago and it was pretty amazing. I decided to look up the artist and found the following:

Ron Mueck (born 1958) is an Australian hyperrealist sculptor working in Great Britain.Mueck’s early career was as a model maker and puppeteer for children’s television and films, notably the film Labyrinth for which he also contributed the voice of Ludo, and the Jim Henson series The Storyteller.

It will be interesting to see what else comes in this new collection of “Size Matters.” This sculpture is definitely on the larger side of things, but it will be nice to see some of the smaller pieces he chooses.

February 20, 2010

The NBA star curates a show:

by Amanda Gordon, reporting by Eric Schmalenberger

The quick reactions that have made Shaquille O’Neal a star NBA center served him well when he switched to the position of curator. “I went with my instinct,” O’Neal says of his selection process for “Size DOES Matter,” which opens at the FLAG Art Foundation in New York on February 19. The show, which O’Neal worked on without compensation, will include more than 60 pieces by 43 artists, including Andreas Gursky,Elizabeth PeytonYinka Shonibare, and Lisa Yuskavage.

O’Neal began curating the show last fall, during a dinner in the Quicken Loans Arena in Cleveland, where his team, the Cavaliers, had just played a preseason game against the Charlotte Bobcats. The founder of FLAG, Glenn Fuhrman, and its director, Stephanie Roach, had flown in from New York in time to catch the game. But the main purpose of their short visit (they flew back that night) was to present O’Neal with several hundred images of artworks related to the show’s theme.

O’Neal, who is more than seven feet tall, was immediately drawn toUntitled (Big Man), 2000, by Ron Mueck, a nearly seven–foot sculpture of a naked man sitting with his elbows resting on his knees. It will be lent by the Hirshhorn Museum and Sculpture Garden in Washington, D.C. Other works are coming from private collections and from such galleries as Gagosian, PaceWildenstein, and Matthew Marks. FLAG is not selling the works in the show (which runs through May 27) nor has O’Neal committed to buying any.

Richard Phillips is making a new, ten–foot–tall painting based on a photograph of Michelle Angelo, a popular model in the ’60s. The largest work in the show will be Robert Therrien‘s No Title (Table and Six Chairs), 2003, consisting of a table so high that gallery visitors will be able to walk underneath it. It is owned by Fuhrman. The smallest work will be a sculpture of O’Neal that requires a microscope to view. Willard Wigan is making the mini Shaq for the show, working with materials such as toothpicks and grains of rice and sand. “When I was looking at the different works, I kept thinking, ‘How did he or she do this?'” says O’Neal. “It made me appreciate how talent can be expressed.”

A longtime basketball fan, Roach recruited O’Neal as curator through persistent phone calls and e–mails to his agents and lawyers. She was interested in O’Neal because of his history of multitasking: during his basketball career, he has acted, made rap albums, served in law enforcement, finished his college degree (at Louisiana State University), and earned an M.B.A., from the University of Phoenix. He is studying for a Ph.D. in organizational learning and leadership at Barry University.

At home, O’Neal has “a ton of art,” he says, including works by his five children. On the road with his team, he focuses on playing basketball. “My experience with art has been more personal and less in the context of museums,” he says, noting that he enjoyed a visit to the studio of artist Peter Max last year. “Maybe after my show at FLAG, I will become more of a regular,” he says.

Ron Mueck’s Untitled (Big Man), 2000, is among the works basketball star Shaquille O’Neal put in the show he’s curating.

LEE STALSWORTH/HIRSHHORN MUSEUM AND SCULPTURE GARDEN, SMITHSONIAN INSTITUTION, WASHINGTON, D.C.

Torn

February 19, 2010

Today is one of those days that I am torn between the corporate/business world and creating art work instead. So Torn.


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