Alternate Exhibition

In terms of format, I loved the setup that Polly Apfelbaum created in her "Blossom" exhibition. I chose her work over the other artists because she uses simple materials to create something large and beautiful. Also, her "rainbowesque"flower setup is appealing because it leaves the viewer wondering what she is trying to express through her art. After looking at this piece, I started to wonder how she chose where each color would be, and why. 

Although I admire the work that Apfelbaum has done, I do not want my exhibit in the gallery to resemble hers. Because I plan on knitting, my portion of the gallery will be more simple and less visually appealing. However, I will experiment with different materials, as I assume that Apfelbaum does as well. I will try out new stitches and colors when creating my final knitting piece.

On Tuesday, Hanna, Roland, and I decided that we wanted to create a "communal" piece of art. With no straightforward idea in mind, we began by chosing our favorite colored markers. We then sat in a circle around the blank piece of paper. Roland drew a line, and then I did, and then Hanna did. We continued to take turns drawing different shapes across the paper. As the page began to fill up, we noticed that there was a monkey like shape in the middle. We then continued to draw the monkey, adding different details. Eventually, we created "Monkey in a Disco," which will soon be renowned throughout the entire world as the next Mona Lisa.

Art & Fear

"The difference between acceptance and approval is subtle, but distinct."

"For the artist, the dilemma seems obvious: risk rejection by exploring new worlds, or court acceptance by following well-explored paths."

"Wanting to be understood is a basic need"

When I first began making art, I never would have considered myself an artist. I was in the fourth grade, and I took classes at a local art studio in Marblehead. The other members of the class were certainly artists (or at least they appeared to be). They were all older than I, and they had several years of experience. As an unexperienced child, there was little room for me to feel confident about any of the work I was creating. Of course, when my teacher noticed my fears, he approached me immediately. He explained that there's a starting point in every artists life, and I shouldn't be so harsh on myself. Still, I was nervous, but I began to consider his advice. After all, he did have a point. Why was I being so critical of my own work, I thought.

As time passed, I began to feel more comfortable with the work I was creating. Although I was still visibly not as talanted as the other artists in the room, I knew that I didn't need to be. I wasn't making art for them, I was making it for myself.

Since then, I have certainly grown as an artist. Of course, I still fear that my work will be rejected by others, but then I remember what my first art teacher said to me, and I begin to feel more comfortable.

Scratching by Twyla Tharp

According to Twyla Tharp, scratching is, "digging through everything to find something." She describes it in further detail, as she says, "It's like clawing at the side of a mountain to get a toehold, a grip, some sort of traction to keep moving upward and onward." She suggests that we should begin scratching by going either going extreme lengths, or by exploring new territories. Scratching is thinking outside the box, seeing what others do not usually see, and then taking these ideas and creating something new. Essentially, Twyla Tharp believes that if a person is exposed to more and more, he or she will have a more interesting appeal.

I can apply Twyla Tharps idea of scratching to my own life by being more adventurous in my everyday life. Because I am interested in art that incorporates music of some kind, I could begin scratching by seeing different musicians in concert, looking at the artwork on their vinyl covers, and by expanding the genre of music that I listen to. If I did this, I would become more open minded in terms of what I believe makes a great musician. 

Because my goal for this term is to learn to knit, I could apply Twyla Tharp's "scratching" to my studio time. I will begin by learning the simple and basic knitting methods, and then once I feel comfortable, I will explore different artists that may use unusual materials and different stitches. 

Hamlett

After looking at five or six different artists' workspaces, there seems to be a trend in the "essential items" within a studio. I noticed that all of the workspaces incorporated nature of some form into their studio, whether their was just a single plant, or their was a large window view of outside nature. From the artists' window views, all of the studios appeared to be located in a grassy, reclusive, area, rather than a city. This may help the artist to feel calm, as there would be no interruption from the outside world. Also, all of the studio walls were painted a light shade, which probably helps to create a more relaxed vibe for the artist. Of course, each studio visit had pictures of the materials the artists used, which most commonly was a picture of  cluttered paintbrushes and large quantities of paint.

Artists at work: workspaces & processes

Based on the powerpoint we saw in class, it seems as though each artist has his or her own unique space. This space includes several different factors, which may reflect on the type of work the artist is creating, or on the artists personality. While some artists prefer to work in small, cramped, and cluttered spaces, other artists prefer neat, clean, and organized spaces. Some artists prefer to work in several different spaces, as their surroundings serve as their main inspiration. When comparing Alexander Calder's sculptures to his studio, I notice a direct relation between his obscurely shaped sculptures and the disheveled appearance of his studio. The picture of his studio is a small space with lots of large objects placed randomly throughout the room. Perhaps Calder creates such large and inconsistent sculptures because of the disorder within his workspace. 

However, Jamison Brousseau claims, "I have realized that my art needs to be more important than my surroundings. In other words, I need to be making it in some form or another no matter what the circumstances." Because Brousseau claims that he does not have one main work space, his art may not have the same consistency as artists that choose to work in only one location

Picture of Brainstorming Sheet