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October 3, 2008

Critique JJLL!!!

Last critique was very dynamic, enriching, intense. All of you, Jason, Jazzman, Laura & Lindsay, made me think a lot about the relevance of sharing works and ideas in progress. I enjoyed the conversations that took place in each of your studios. Each critique embodied a different personality, explored different perspectives, and everybody seemed to be very focused in each person's work and interests. I really enjoyed the fluid engagement and direct tone used by the whole group, including our two guests. It seemed to me that there were several questions, references and comments that could positively complement (not replace) your artistic research.

Meng Tang

Marcel Decamp said that the viewer is responsible for half the work in creating art’s meaning. That is one of the most important reason that why I do like critiques very much.

First, I really appreciate that the three artist guests’ joined our critiques recently. Andrea’s works were particularly impressed me.

In the past two weeks we went through eight different artists works. Like what I said all of them pretty much informative me. Two of them really let me think much more than the others which are Peter and Jason’s works

October 1, 2008

Jason, Jazz, Lindsey, and Laura

Friday's critiques were great! I agree with Laura about wanting to be apart of the conversation happening in Jason's studio, but I felt like the conversation was flowing and shouldn't be interrupted. Jason, your performance work is very strong. Every time I walk by your studio, I am reminded of the performance because of those reindeer antlers outside of your door. I agreed with Clive & Andrea that the presentation of the "remnants", "artifacts" or "props" (which ever you prefer) needs to be addressed. The testimony that the "props" represents is important for those viewers who did not witness the event and also for those that did witness as an immediate reminder. Perhaps think about editing the number of "props" for display. I am excited to see your next performances and wonder if you'll continue to involve the audience through participation?!

Jasmine, I am very engaged with the aesthetics of your work. Whether your making roosters or abstract sculptures, you transform the medium into having a raw immediacy. The work feels very spontaneous and experimental. As I look at the surface, I imagine what it would be like to touch. I am interested in how presenting these pieces suspended would create tension for the viewer and if this would enhance the idea of modern reconstruction.

Lindsey's, your porcelein masks, thimbles, and eggs are a significant change from the vessel work. This departure allows the conversation to focus more on the narrative your creating and less on the object you are painting. The thimbles demand more time from the viewer because of the intimate scale which I don't feel we each had during the critique. The idea of a collection creating a story is a great launching pad. You mentioned using the masks in a larger installation and I keep relating those casts to the elaborately decorated circus wagons we saw in Baraboo, WI.

Laura, you do make a beautiful iceberg! Are you interested in splitting the icebergs and oil rigs into separate environments? The oil rigs painted with colors associates with houses is direct and poses questions to your viewers about their consumption and responsibilities to the environment. Keep exploring these ideas! I have become increasingly conscious of my consumption over the last year and a half because of your work.

JoshW

yo

jason: you thought The Performance Leftovers were dead, maybe they were in relation to the performance, maybe they had a life of their own, maybe they are what happened after the performance, transformation? the soil corridor became a mound, the decapitated christmas arms covered the perimeter, and then the multi-colored lays, with the martyrdom of st. sebastion-log on top. The sitting log became a character with antlers and all. I enjoy the idea of coining your own word or phrase for these leftovers. how can you make what's left talk to what happened?

jazzman: The one in fresh works made me think of a sow pig. I enjoy the forms very much, I enjoy the intro of the obnoxious color with the corrugated plastic layers. I wonder if you are interested in these structures more formally and aesthetically, or more conceptually. I wonder if the conceptual side, ever restricts the aesthetic. I wonder what you might build without a bit of concept? maybe the content is restricting you from something else? Maybe not?

Lindsey: There is a lot happening as was said, and I'm interested in all that's happening up there. maybe you need to tell the story through a whole room, a whole domestic space. I think if the thimbles had some progression or narration I spend more time with them. I think Clive was right about you being on the brink of something.

Primo: a big mighty immaculate berg, and I'd like to know about the other environmental concerns your thinking about, making sketches about, etc. What can you do with those little easter-colored rigs. what else can porcelain become?

Continue reading "JoshW" »

September 30, 2008

My take

Art can be a catalyst for conversation that meanders through the work. This approach provides differing perspectives on content the work it is addressing.
Often in an artist studio we address questions of how would I remake their work or what direction do I feel the artist should go. I am leery of the power position of critic in the studio. Although it can be comforting for others to tell us what to do or not, it can be disruptive to the process of discovery.

September 29, 2008

Critiques- jazz, jason, linsey, primo

I thought our critiques were great. I know for me it was one of the better critiques I've had here. It was also the first time I have had someone outside the ceramic department encourage me to stay in ceramics. I have felt often like I had to keep defending my choice of materials. They both gave me a lot of things to think about which is what you want critiques to do. I also found it interesting that they brought up the folk art reference. I think it's interesting what creeps into your work from your background that you don't even think about.

As for the rest of the crew I think they all had good critiques. Jason seemed excited about the idea of props. As well they gave him some exciting directions to think about. I Think Jason may have found his niche. I was glad to see that Clive was picking up what Lindsey was putting down. I have found in the past people have struggled with her content. It was great to see someone understand that quickly. I think Primo really needed that crit I know she has been questioning how literal she needs to be and she got some good answers.

our crits-Laura

I thought our crits went really well! I wish that we (the grad students) had talked more in Jason's but maybe it was hard to jump in when the conversation was going well with our guests. I agree that Jason needs to really utilize his studio as a place of happenings. I also wonder how his performances would transform if done in an alternative space. It was refreshing to hear someone outside the ceramic area push Jasmine to keep working more in clay. I am curious to see the clay forms in a larger scale and see what details could be gained. It was also refreshing to see someone pick out Lindsay's references to other artists. One thing that I have still been thinking about is how important the narrative is on the thimbles and if it can play a more dominant role in them. It seems less important on the thimbles than on her work in the past.

I am satisfied with how my critique went. Earlier in the week, I gathered questions both from previous critiques as well as ones that I had been thinking about. However when it came to it I ended up not even look at my notebook, due to being a little nervous. I wish that I would have explained some points better because some question came up about how the icebergs would be finished. Overall I found this critique to be insightful, stimulating and served as a good compass for the direction of my work. I greatly appreciate my fellow grads input as well as our guests. I will now light some candles and lock myself in my studio...

Laura, Jasmine, Jason...and me too.

Laura, I thought some really great stuff was said in your critique. Especially the part about the imagery being enough of a signifier to get you message across, and that maybe you should just make the big beautiful ice-burg. Jasmine, I was so happy to hear both Andrea and Clive speak about your Freshworks piece and say that it was that particular approach to materials that seemed your own. You don't have to be married to clay forever, but you also don't have to reject it. You do have a way of working with it that is all your own. Jason, I'm really excited about your dive into performance. I really had a great time participating in that piece. Clive and Andrea said some great comments to you that should give you lots of confidence to move forward and keep going with this stuff. I felt like my own crit was informative. I needed to think about a lot of the things that Clive said in terms of not seeing all these isolated projects, and focusing a bit. I always really love it when people look at my work and get all the influences, but I'm also trying to be more aware of the idea of being in conversation with the artists I love.

September 26, 2008

critique

My critique was great, i found it helpful. The word "prop" was something i had never thought of, yet something clicked during its use. I also found Laura, Jasmine, Lindsay's critique very informative. For me what makes a good critique is when i can also gain information about myself through someone else and their work.

What was said seemed relevant and thoughtful. Our time slots were a bit short, although i still feel like i gained something.

I'm very excited to see everyones work now and in the near future.

thanks
jason (damn cat just scratched)