Recently in Labeling the world Category

Mara Week 8 Label

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"Postures are necessary if not sufficient condition for generation of meaning and feeling." -Linda Nochlin

When creating compositions I am always concerned with the way a body moves and fits in a space. The human body is so telling of emotions. Like the drawn mark the body evokes different moods just in simple movements. The slight tilt of the head, hunched shoulders, standing up straight, sitting, lying down, these positions and postures say more than the artist can say about the feelings found in their work. I am interested in the body in motion, they're a flash of losing control and the photograph captures and freezes that moment like no other medium. To be able to engage and contemplate such a raw moment is invigorating. My work has explored this movement paralleled with stillness. The stoic pose can be elegant but jarring. There is something otherworldly present in simple arrangements where a lack visible emotion can be more enrapturing than the expected look of anguish or ecstasy. I am interested in capturing and creating these fleeting moments and freezing them and juxtaposing them to create this index of the human body.

Beth: Label, Week 8

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Dimensions variable

This piece of stamped and cut brass opens first one door then the next, each opened door moving the artist closer to her studio. This key does not open the car door, because the artist already tried that. Twice. It does not open the back door at home, unless that takes more than 7 attempts. And certainly not the garage. It just doesn't. The first attempt at inserting this key into its intended lock met with resistance until JH pounded it into the tumbler, exposing a distinct bend. This was flattened with a mallet whack or two, and it now opens its two doors without resistance. The key still does not open the car door. Or the back door. Or the garage. But not for want of trying.

Week Eight - Will Lakey - Labelling the world

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The Studio Critique
My work is on the walls, but not all of it. I don't know why I have hung those pictures like it misleading? Twelve people sit around looking at me, they are being very nice, I think I am answering their questions fairly coherently. I try to sound considered, but I try not to listen to how I sound. My mapping practice work is all around and I am glad I did that and that it has coincided with this critique. It makes my studio look a bit more lived in. It has been hinting at possible new directions in my practice. I am sitting on the desk, the added height gives me a bit of confidence and I can move around more freely. Later on I worry that the way I am sitting is reacting with the jeans I chose to wear today and creating an unfortunate and embarrassing focal point, but it is probably my imagination. I am given lots of names to look up and everyone looks happy about the conversation. I take this as a win.

Lorena: Week 8, Label

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As this difficult week comes to an end, I've been thinking of places that I've used to bring comfort and shelter. In El Salvador, I used to have a small cave that my friends and I had called "escondite" or hide out. This escondite was in front of a neighbor's home. It was a small cave that delicate ivy leaves had formed in front of her house. As you were inside, nobody could see you from the outside. We liked this sense of privacy and secrecy that this space provided for us. It wasn't a big space, but big enough for our tiny bodies to sleep, read, relax or hang out in there. The water meter was located under a concrete compartment in the ground. We would use this space to save our snacks, books, plates and toys. A small water canal would run right by it, so that was where we would use the restroom if we didn't want to run home. As I have said before, I spent most of my childhood wondering around the streets in El Salvador. The civil war ended when I was 6, and a sense of security and peace was beginning to merge after years of suffering and death. I didn't understand any of this at that age. I could only understand my world in the sense of my home. My home was my world, and sometimes the world there was difficult to take. The escondite brought shelter, a space I could hide from outside harms, discomforts and my mom. I wish I could find an escondite, a place where I could go to recharge and comeback when I was ready. This is of course not an option, because I'm a grown up now, and time moves on without waiting for you to be ok. I've been told that the first year of grad school is the hardest. Well.

Josh, Week 8, Label

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noun: A small piece of paper, fabric, plastic, or similar material attached to an object and giving information about it.
An item used to identify something or someone, as a small piece of paper or cloth attached to an article to designate its origin, owner, contents, use or destination.
A piece of paper, card, or other material attached to an object to identify it or give instructions or details concerning its ownership, use, nature, destination, etc.; tag.
A word or phrase heading a piece of text to indicate or summarize its contents.
A descriptive term; an epithet.
A distinctive name or trademark identifying a product or manufacturer, especially a recording company.
Architecture: A molding over a door or window; a dripstone.
Heraldry: A figure in a field consisting of a narrow horizontal bar with several pendants.
Chemistry: See tracer

verb: Attach a label to (something).
To attach a label to.
To identify or designate with a label; describe or classify: labeled them Yuppies. See Synonyms at mark
Chemistry: To add a tracer to (a compound).

Jim, Week 9: Label

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I decorate my apartment with maps because I love their visual aesthetic. They are the greatest merging of visual representation and abstraction. Expanses of space ranging from the entire globe to the floor plan of a bedroom are flattened and represented by a series of lines, shapes, colors, and symbols - abstraction. Yet all of the information is there, precise and accurate - representation. Every road, lake, highway, and political boundary that exists in the real world is plotted. Maps are landscape paintings. All of the history and every experience occurring within a space are there, but remain invisible. The map is matter-of-fact, not caring about the history and experience but acting as a demarcation of their locales. Political boundaries are a perfect example of this. I have a world map from the 1980s that still shows the USSR as a nation. I also have a more recent one depicting the now independent nations. The map makes no commentary of the political situation in Asia and Eastern Europe, but simply does its job in depicting the new lines that have been drawn.

Emily, Week 8: Label

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Life/Theater: Jerry Goralnick


Artist and "experientialist" Lee Walton works in subtle ways, weaving small acts of performance into the everyday urban environment. He orchestrates public theatrical work that is sometimes noticeably peculiar, but is often hidden within the mundane activity that surrounds us. He calls these works "Life/Theater," arranging complex systems of actors and props to perform intricate pieces, virtually indistinguishable from the composite performances of reality. With these pieces, he challenges audiences to notice the beauty and theatricality of the everyday life surrounding them while critically questioning what is "real" and what is "not real" within public space.

With Life/Theater: Jerry Goralnick, Walton has both expanded his timeframe and reduced the size of his cast. One man, Jerry Goralnick, sits at the same lunchtable outside of the UBS Building in Manhattan. For 62 consecutive workdays, he wears the same attire and executes the same hour-long ritual. Normal activities become aberrant, but only with a careful witnessing of the cycles. This experientialist piece reveals how an individual can become like the architecture of public space, when action is repeated over a prolonged period of time.

Erin, Week 8: Label

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There is a constant shift in my head as I am working. Questions arise constantly about formal ideas and also about the validity of them. I need the back and forth of different tools, clay bodies, materials, and processes. My mind is in constant motion as I think of slab building as I am throwing. Or I think of forms I want to create as I'm painting different shapes on my wall. If I don't go along with the desire to create in multiple ways, there's a sense of plateau in my making. I feel stagnant and unsatisfied. The exchange of ideas from one medium to the next is a web of thoughts and can only be created in this way. Is this fulfilling the processes to what they desire and need? Am I giving the ideas their full potential? When faced with one way of working, one tool and one blank canvas, the thoughts aren't as exciting for me. I need that energy of motion and different undertakings occurring simultaneously to keep the momentum of every practice moving forward.

Candice Methe-label week 8 or is it 9? The Dog.

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You stink! You smell a pack of dogs. Even though you are small, your breath smells like the rotting seas. When I wake up in the morning, it's you, a bright a shiny new penny. Stretch, stretch ready, lets go! You seem to forget that I have needs, like waking up or sipping tea. You have no cooth! You poop for all the world to see and wherever you fancy, your little pink butthole, un-ashamed. Or is it me who is the uncivilized, keeping you tethered and following you around with a little powder blue bag with fake powdery smell, gag! Must you hog the couch? Why don't you get a job and stop staring at me endlessly, all-the-live-long-day with that expectant, unrelentless, quivering, unabashed stare-down.
Oh wait I love you.....

Chris, week 7, label- a mapping practice

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When thinking about mapping my practice, I recalled something I had done about a year ago and now I plan to revisit. I decided to make a list of everything I used during the course of a day. More specifically, I would write down or sketch every object I physically touched. The first day's list took form on labeling tags from the Iron foundry at which I was employed, digitally through emails, and also in my sketchbook. I began to have battles in my head as to how specific I should be. I would ask myself questions such as, should I begin to list the parts of the wholes which I am documenting, is it a water bottle I am using or should the vessel and the lid be separated, and the water inside?

I began to doubt the entire concept of listing everything I used when I asked myself about light and sound. I touched the light switch. What about the light? The sound of the internal components of the switch? This began to develop into something very interesting in terms of objects and their physical extensions into the world, but this concept was anew from the original goal. So I eventually decided to just let the list happen naturally as if it were a habit of mine. I would document the object as it were a whole. I called it "A WORKING INVENTORY OF EVERYTHING I USED TODAY".