Jennifer Reifsneider: Stitched
|
|
- Justin Banks
- 5 years ago
- Views:
Transcription
1 Jennifer Reifsneider: Stitched
2 Jennifer Reifsneider: Stitched Presented by: Paris Gibson Square Museum of Art Mungas/Volk Gallery November 21 - December 31, 2008 All images 2008, courtesy of Jennifer Reifsneider On-line catalog 2008, Paris Gibson Square, Inc. All rights reserved. Catalog designed by Bob Durden, Curator of Art, Paris Gibson Square Museum of Art. Cover: One Eighth of Desire (detail from installation), 25 pounds of rubber bands, 2003/2007, installation variable dimensions as shown 144 x 216 x 96 inches. This page: Field/Silence (detail), dictionary pages and tape, 2000/2007. Museum programming is made possible by the generosity of museum members and supporters, with on-going assistance from The National Endowment for the Arts, the Montana Arts Council and the Citizens of Cascade County.
3 (Figure 1) Field/Silence, dictionary pages and tape, 2000/2007, 80 x 80 x 8 inches. Lent to the exhibition courtesy of a private collector, Spokane, Washington. 1
4 Curator s Statement The stitch is the basic, yet essential ingredient in all of the selected works in this exhibition and to a great extent, in most of the artist s work. It is with the stitch that Jennifer Reifsneider builds larger metaphors for containment in her recent work. At the most fundamental level, the stitch is both the container and the contained, with each stitch relying on the other to support and complete it exemplifying what she refers to as the aporetic border between parts and whole. Within the astute and minimalist sensibility about the most miniscule element of her process, Jennifer embraces and enlarges our understanding of method, material and her larger intellectual concerns. She builds upon a domestic craft that possibly dates back to 1100 A.D. and transforms the more recent knitting tradition of this century into a completely contemporary sculptural form. 2 The casual viewer, upon examination of an individual object by the artist, might observe a beautifully crafted, subtle though puzzling object that on its own may not reveal the artist s entire intent. But in this realization, one would acknowledge that something deeper is at play. By examining a larger group of work, the threads of the artist s intentions are weft more clearly. The elegance and simplicity of Child s Sweater (fig. 9) can be appreciated for what it seems to be. But when it is considered in a larger context and in association with its cousin, Children s Sweaters (fig. 2), the message begins to change. In the latter, the sweaters become connected seamlessly with their mirror opposite to create an unexpected and improbable reference to the craft at the same time that the sculpture communicates a whimsical narrative. But upon
5 (Figure 2) Children s Sweaters, 2007, wool and hangers, 18 x 26 x 16 inches. Lent to the exhibition courtesy of the artist. 3
6 further reflection, the narrative becomes more deeply rooted in the philosophy of structuralism, an ideology that developed in the 1950 s and 60 s, and the artistic statement moves beyond sentiment to create a visual and psychological tension less absurd than quintessentially human and kind. The notion of the embrace as a metaphor for containment is ironic given the absence of the children, but this absence negates the sentimentality that might otherwise result. Additionally, the color of the wool (neutral but rich, non-gender specific, and devoid of decorative stitching) contains a powerful message about the need for emotional interdependence and validation (absent of gender bias) experienced so strongly in childhood. Other interpretations abound. 4 The sublime aspects of Jennifer Reifsneider s work become more poignant and meaningful once we ve realized that there is something more at stake in the work than making interesting, well crafted objects for their own sake. Container for Unknit Stitches (fig. 3) can then be better understood for what it really represents: structuralism, which among other things suggests that there is structure at the most rudimentary level of everything. Returning to the stitch as a building block for metaphors of containment, Jennifer s playful sculptures relate the fundamental structuralist idea succinctly. The idea of unknit stitches is a paradox and in the context of this sculpture they are contained only because of the existence of that which they would become. The contrast between the black and white yarns heightens the contrast between the formed and the unformed. And though the unknit stitches are unformed, they still have a structure within the container. The artist seems to be conveying a visual metaphor for the building blocks of life and relationships.
7 (Figure 3) Container for Unknit Stitches, 2007, mohair, cotton, jute, linen and wool, 10 x 30 inches in diameter. Lent to the exhibition courtesy of the artist. 5
8 Jennifer Reifsneider also exercises her notions of containment by utilizing the stitch, from the sewing tradition, to great effect in quasi-two-dimensional works such as Sum and Difference (fig. 4). In this example, she elevates a two-dimensional printed dictionary page into a three-dimensional visual statement (the dimensionality is minute and sublime). And where is the containment? It lies in the printed word associations, between the object and the object s title and between the printed word and the silk thread stitching subtle, ironic, and exquisite. Impassibility becomes passable and impermeably becomes permeable. The artist literally negates the function of these word definitions within the new context of this object utilizing a simple, but lovely and unassuming stitch. Furthermore, the words and their definitions on the page are completely bound to one another to reinforce the notion of containment. At first, the impression is that the words have been crossed out, but on very close inspection this is not at all the case. The words are tied together, negating the verbal punctuation. The print is now tied completely together it is whole and it is contained. Jennifer Reifsneider s use of other banal materials such as bed sheets in Medicine Ball (fig. 6) and rubber bands in One Eighth of Desire (fig. 10) is so visually and intellectually pleasing that one looks past the materials original purposes to find the deeper messages, structures and intentions. To a great extent, the real strength in the work is the artist s ability to make complex ideas and structural relationships appear so elegant, simple and seemingly obvious; utilizing a basic mechanical system the stitch. Bob Durden, Curator of Art 6 Jennifer Reifsneider received her Bachelor of Fine Arts degree in Photography and Fine Art at Rochester Institute of Technology in After working at the New Museum of Contemporary Art, she moved to Missoula, Montana in 1997 and began her 11 year tenure as Curator of Collections and Registrar for the Missoula Art Museum. She has participated in solo and group exhibitions in Montana, Washington and Colorado. Her work is in numerous private and public collections, including the Yellowstone Art Museum in Billings, Montana. In August of this year, she relocated to Long Beach, California to attend the Master of Fine Arts program in Sculpture with a Fibers emphasis at California State University.
9 (Figure 4) Sum and Difference, 2007, dictionary page and silk, 9 ½ x 6 ½ inches. Lent to the exhibition courtesy of the artist. 7
10 Artist s Statement The Greek philosopher Heraclitus observed: The most beautiful world is like a heap of rubble tossed down in confusion. My method of working seeks an experience of that beauty and definition amid the confusion. I welcome the paradox and contradiction that are inherent in this quest, and strive for the tension Heidegger identifies in the unity of well-distinguished opposites resting in connectedness but caught in a sublime struggle in which each opponent carries the other beyond itself. My sculptures grow from layers of materials, actions, and uncomplicated contrasts of forms, textures, and intentions. I am fascinated by the phenomenological reversibility of world and ground and drawn to the dual attractive / repellent nature of containment. James Elkins s assertion that, since world and ground are ever-changing, all metaphors of containment must fail motivates me to explore the aporetic border between parts and whole, identity and indifference, and presence and absence. However, my basic motivation for working is summed up by Louise Bourgeois s claim that art is restoration: the idea is to repair the damages that are inflicted in life, to make something that is fragmented into something whole. This challenge to Elkins s prediction that all containment must fail inspires me to craft works that defy expectation and withstand the stress of creation and existence. 8
11 (Figure 5) The Shortest Distance Between Two Points, 2007, unwound rope and silk thread, 143 long installation size variable. Lent to the exhibition courtesy of Patricia Dunkum, Missoula, Montana. 9
12 An important formal and conceptual goal is to achieve an economy of the essential. Simple, repeated gestures performed by my own hands, like scratching, sewing, knitting, wrapping, and piling, or by the natural forces of erosion, condensation, and gravity, allow for precise intent and quiet, meditative purpose. My intuitive use of common but meaningful media like mirrors, salt, wax, wool, newsprint, and dictionaries is similar to Claude Levi-Strauss s definition of bricolage as spontaneous creativity fueled by the immediacy and contingency of collected materials. The human body and other natural forms feed the theme of containment, whether as comforting shelter or repressive restraint. Like their organic sources, the works created in fall 2007 are increasingly malleable and are more adaptive to architectural and public spaces than earlier, static works. I am interested in pursuing this trend in future works, and in experimenting with the relational aesthetics of time and space while retaining intimate handcraft and objecthood. Jennifer Reifsneider 10
13 (Figure 6) Medicine Ball, 2007, bed sheets and thread, 10 inches in diameter. Lent to the exhibition courtesy of the artist. 11
14 12 (Figure 7) Axis, 2007, muslin and beeswax, 53 x 4 x 4 inches (installation size variable). Lent to the exhibition courtesy of the artist.
15 (Figure 8) Dictionary, 1998, dictionary and string, 9 ½ x 7 x 2 inches. Lent to the exhibition from the Collection of Ben Mitchell and Kasey Keeler, Spokane, Washington. 13
16 Exhibition Checklist: Dictionary, 1998, dictionary and string, 9 1/2 x 7 x 2 inches. Lent to the exhibition from the Collection of Ben Mitchell and Kasey Keeler, Spokane, Washington. Field/Silence, 2000/2007, dictionary pages and tape, 80 x 80 x 8 inches. Lent to the exhibition courtesy of a private collector, Spokane, Washington. One Eighth of Desire, 2003/2007, 25 pounds of rubber bands, installation variable (dimensions as shown on figure 10, 144 x 216 x 96 inches). Lent to the exhibition courtesy of the artist. Axis, 2007, muslin and beeswax, 53 x 4 x 4 inches (installation size variable). Lent to the exhibition courtesy of the artist. Sum and Difference, 2007, dictionary page and silk, 9 ½ x 6 ½ inches. Lent to the exhibition courtesy of the artist. Child s Sweater, 2007, wool and hanger, 16 x 16 x 3 inches. Lent to the exhibition courtesy of the artist. The Shortest Distance Between Two Points, 2007, unwound rope and silk thread, 143 long installation size variable. Lent to the exhibition courtesy of Patricia Dunkum, Missoula, Montana. Children s Sweaters, 2007, wool and hangers, 18 x 26 x 16 inches. Lent to the exhibition courtesy of the artist. Medicine Ball, 2007, bed sheets and thread, 10 inches in diameter. Lent to the exhibition courtesy of the artist. 14 Container for Unknit Stitches, 2007, mohair, cotton, jute, linen and wool, 10 x 30 inches in diameter. Lent to the exhibition courtesy of the artist. (Figure 9) Child s Sweater, 2007, wool and hanger, 16 x 16 x 3 inches. Lent to the exhibition courtesy of the artist.
17 (Figure 10) One Eighth of Desire, 2003/2007, 25 pounds of rubber bands, installation variable (dimensions as shown, 144 x 216 x 96 inches). Lent to the exhibition courtesy of the artist. 15
18 1400 First Ave. N. Great Falls, MT Museum Hours: Free Admission Courtesy of Monday - Friday 10am to 5pm Tuesday Evenings 7-9pm Saturday 12-5pm Closed Sundays
Dr Jane Deeth February 2013
leeharperart Lee Harper s background is ordinary in many respects nothing too extreme but enough to generate the sense that nothing was ever too easy. Raised in a household with a mother, a sister and
More informationObject Oriented Learning in Art Museums Patterson Williams Roundtable Reports, Vol. 7, No. 2 (1982),
Object Oriented Learning in Art Museums Patterson Williams Roundtable Reports, Vol. 7, No. 2 (1982), 12 15. When one thinks about the kinds of learning that can go on in museums, two characteristics unique
More informationConstant. Ullo Ragnar Telliskivi. Thesis 30 credits for Bachelors BFA Spring Iron and Steel / Public Space
Constant Ullo Ragnar Telliskivi Thesis 30 credits for Bachelors BFA Spring 2011 Iron and Steel / Public Space Table of Contents References Abstract Background Aim / Purpose Problem formulation / Description
More informationNEW YORK STATE TEACHER CERTIFICATION EXAMINATIONS
NEW YORK STATE TEACHER CERTIFICATION EXAMINATIONS June 2003 Authorized for Distribution by the New York State Education Department "NYSTCE," "New York State Teacher Certification Examinations," and the
More informationHARRIET ELVIN S SPEAKING NOTES FOR RAPT IN FELT: OUR STORIES TEXTILE WORKS, 1 JUNE 2018
HARRIET ELVIN S SPEAKING NOTES FOR RAPT IN FELT: OUR STORIES TEXTILE WORKS, 1 JUNE 2018 When I first heard about Rapt in Felt: Our Stories I was intrigued and, to be honest a little perplexed. It seemed
More informationANDRÁS PÁLFFY INTERVIEWS FRANK ESCHER AND RAVI GUNEWARDENA
ANDRÁS PÁLFFY INTERVIEWS FRANK ESCHER AND RAVI GUNEWARDENA When we look at the field of museum planning within architectural practice and its developments over the last few years, we note that, on one
More informationErica Deeman a new face in photography
Erica Deeman a new face in photography By Charles Desmarais March 24, 2017 Updated: March 24, 2017 2:38pm Photo: Anthony Meier Fine Arts, BAMPFA Erica Deeman, Untitled 02 (2014). If you saw the exhibition
More informationStandards Covered in the WCMA Indian Art Module NEW YORK
Standards Covered in the WCMA Indian Art Module NEW YORK VISUAL ARTS 1 Creating, Performing, and Participating in the Visual Arts Students will actively engage in the processes that constitute creation
More informationPROFESSION WITHOUT DISCIPLINE WOULD BE BLIND
PROFESSION WITHOUT DISCIPLINE WOULD BE BLIND The thesis of this paper is that even though there is a clear and important interdependency between the profession and the discipline of architecture it is
More informationthe act of discovery doesn t end with the creation of art. When shared with the public, art
Binding, Together Art is a means for discovery. It is not merely a method of expression, although it can be a very effective one. Art, at its essence, is an opportunity for the artist to probe into her
More informationSupermarket Self-Care in the Age of Anxiety
Supermarket Self-Care in the Age of Anxiety By Bridget A. Purcell An Essay on New Works by Chelsea Tinklenberg Cabbages on wheels and suspended from cables, vegetables unearthed from a white pedestal,
More informationSculpture Park. Judith Shea, who completed a piece here at the ranch, introduced us.
aulson Press is proud to announce the release of two new prints by sculptor Martin Puryear. Both prints were created during his many visits to the studio beginning in 2001. Puryear uses the flexibility
More informationCAEA Lesson Plan Format
LESSON TITLE: Expressive Hand Name of Presenter: Lura Wilhelm CAEA Lesson Plan Format Grade Level: Elementary MS HS University Special Needs (Please indicate grade level using these terms): Middle School
More informationTHESIS THREADS IN COMMON. Submitted by. Elizabeth J. N akoa. Art Department. In partial fulfillment of the requirements
THESIS THREADS IN COMMON Submitted by Elizabeth J. N akoa Art Department In partial fulfillment of the requirements For the Degree of Master of Fine Arts Colorado State University Fort Collins, Colorado
More information2 nd Grade Visual Arts Curriculum Essentials Document
2 nd Grade Visual Arts Curriculum Essentials Document Boulder Valley School District Department of Curriculum and Instruction February 2012 Introduction The Boulder Valley Elementary Visual Arts Curriculum
More information6-8 Unit 1, Art, Elements and Principles of Art
6-8 Unit 1, Art, Elements and Principles of Art Content Area: Art Course(s): Art Time Period: September Length: 10 weeks Status: Published Enduring Understanding Art is created using the principles of
More informationBoyd County Public Schools Middle School Arts and Humanities 7 th Grade VISUAL ARTS DRAFT
Big Idea: Structure in the Arts Understanding of the various structural components of the arts is critical to the development of other larger concepts in the arts. Structures that artists use include elements
More informationBeautiful, Ugly, and Painful On the Early Plays of Jon Fosse
Zsófia Domsa Zsámbékiné Beautiful, Ugly, and Painful On the Early Plays of Jon Fosse Abstract of PhD thesis Eötvös Lóránd University, 2009 supervisor: Dr. Péter Mádl The topic and the method of the research
More informationEXHIBITS 101. The Basics of How to Curate & Install an Exhibit National Archives Conference for Fraternities and Sororities.
EXHIBITS 101 The Basics of How to Curate & Install an Exhibit National Archives Conference for Fraternities and Sororities June, 2016 Exhibits 101 This workshop is intended to provide basic instruction
More informationCONDENSATION JOHN PAUL CAPONIGRO
CONDENSATION JOHN PAUL CAPONIGRO 1 JOHN PAUL CAPONIGRO CONDENSATION Condensation Light All photographs are about light. The great majority of photographs record light as a way of describing objects in
More informationDelirious: Art at the Limits of Reason, Curated by Kelly Baum at the Met Breuer September 13, January 14, 2018.
Delirious: Art at the Limits of Reason, 1950-1980 Curated by Kelly Baum at the Met Breuer September 13, 2017 - January 14, 2018. Delirious times demand delirious art, or so this exhibition will propose.
More informationAsymmetrical Symmetry
John Martin Tilley, "Asymmetrical Symmetry, Office Magazine, September 10, 2018. Asymmetrical Symmetry Landon Metz is a bit of a riddler. His work is a puzzle that draws into its tacit code all the elements
More informationARTIST'S STATEMENT. An artist statement should provide insight into the artist's concept and motivation behind making the work.
ARTIST'S STATEMENT An artist statement should provide insight into the artist's concept and motivation behind making the work. WHAT IS AN ARTIST'S STATEMENT? An artist's statement is a short written piece
More informationDepartment of Teaching & Learning Parent/Student Course Information. Art Appreciation (AR 9175) One-Half Credit, One Semester Grades 9-12
Department of Teaching & Learning Parent/Student Course Information Art Appreciation (AR 9175) One-Half Credit, One Semester Grades 9-12 Counselors are available to assist parents and students with course
More informationLecture (0) Introduction
Lecture (0) Introduction Today s Lecture... What is semiotics? Key Figures in Semiotics? How does semiotics relate to the learning settings? How to understand the meaning of a text using Semiotics? Use
More informationMake a book. Publishing tips
Make a book Publishing tips leave a 2 3 cm border along the spine edge of the front and back of each page use strips of card to strengthen the pages and/or covers where they are bound use glue that does
More informationSchool District of Springfield Township
Course Name: Art III School District of Springfield Township Springfield Township High School Course Overview Course Description In Art III students expand their experiences with new media and refine techniques
More informationK.1.1 Understand that art is a visual record of human ideas and has a history as old as humankind.
Kindergarten RESPONDING TO ART: History Standard 1 Students understand the significance of visual art in relation to historical, social, political, spiritual, environmental, technological, and economic
More informationChoices and Constraints: Pattern Formation in Oriental Carpets
Original Paper Forma, 15, 127 132, 2000 Choices and Constraints: Pattern Formation in Oriental Carpets Carol BIER Curator, Eastern Hemisphere Collections, The Textile Museum, Washington, DC, USA E-mail:
More informationJULIA DAULT'S MARK BY SAVANNAH O'LEARY PHOTOGRAPHY CHRISTOPHER GABELLO
Interview Magazie February 2015 Savannah O Leary JULIA DAULT'S MARK BY SAVANNAH O'LEARY PHOTOGRAPHY CHRISTOPHER GABELLO Last Friday, the exhibition "Maker's Mark" opened at Marianne Boesky Gallery, in
More informationResources. Include appropriate web-site information/texts/dvd/vcr
Art IV/AP Studio Art unleveled full year course 4 credits By the end of basic study in grades 9 12 By the end of extended study in grades 9-12 Unit: Observation Drawing-textured charcoal drawings Essential
More informationSearching for New Ways to Improve Museums
Naoko Sonoda, Kyonosuke Hirai, Jarunee Incherdchai (eds.) Asian Museums and Museology 2014 Senri Ethnological Reports 129: 67 71 (2015) Searching for New Ways to Improve Museums Tsuneyuki Morita National
More informationPRESS RELEASE BIELEFELDER KUNSTVEREIN - EXHIBITIONS 2011 LILI REYNAUD-DEWAR THOMAS JULIER FEBRUARY 12 MAY 01, 2011
PRESS RELEASE BIELEFELDER KUNSTVEREIN - EXHIBITIONS 2011 FEBRUARY 12 MAY 01, 2011 OFIS ARHITEKTI / BEVK PEROVIC ARHITEKTI CONTEMPORARY SLOVENIAN ARCHITECTURE MAY 14 JULY 24, 2011 BEYOND GESTALTUNG SEPTEMBER
More informationExcerpts From: Gloria K. Reid. Thinking and Writing About Art History. Part II: Researching and Writing Essays in Art History THE TOPIC
1 Excerpts From: Gloria K. Reid. Thinking and Writing About Art History. Part II: Researching and Writing Essays in Art History THE TOPIC Thinking about a topic When you write an art history essay, you
More informationAppalachian Center for Craft - Clay Studio. How to Write an Artist s Statement
Vince Pitelka, 2016 Appalachian Center for Craft - Clay Studio How to Write an Artist s Statement Artists can no more speak about their work than plants can speak about horticulture. - Jean Cocteau Writing
More informationLOSS OF INNOCENCE. Jennifer J. Smith, MFA. Problem in Lieu of Thesis Prepared for the Degree of MASTER OF FINE ARTS UNIVERSITY OF NORTH TEXAS
LOSS OF INNOCENCE Jennifer J. Smith, MFA Problem in Lieu of Thesis Prepared for the Degree of MASTER OF FINE ARTS UNIVERSITY OF NORTH TEXAS May 2002 APPROVED: Jerry Austin, Major Professor Catherine Chauvin,
More informationTHAT WAY. Garth Amundson. Nov 9 - Dec Opening Reception: Sat Nov pm Artist's Talk: Sat Nov 9 8pm
THAT WAY Garth Amundson Nov 9 - Dec 21 1996 Opening Reception: Sat Nov 9 1996 9-1 1 pm Artist's Talk: Sat Nov 9 8pm Hallwalls Contemporary Arts Center 2495 Main St, Suite 4 25 Buffalo, NY 142 14 716.835.7362
More informationThis is what happens. Stranger. Alps. when you meet a. April 29 May 22, Ethan Grosso Christina Neno Sophia Rothbart. in the
Ethan Grosso Christina Neno Sophia Rothbart This is what happens when you meet a Stranger in the Alps April 29 May 22, 2011 THE TROUT GALLERY, Dickinson College Introduction The senior seminar is the
More informationharvard university extension school star e112 Book Art I (23536) Spring 2011
harvard university extension school star e112 Book Art I (23536) Spring 2011 Tuesdays 5:30 7:30pm 51 Brattle Street, Grossman Common Room Dr. Ilavenil Subbiah ta Kimberly Salley course description Book
More informationsheltered state of becoming mixed patterns of invention polysemantic methods pupa of the exhibition
danube university krems workshop exhibition development sheltered state of becoming mixed patterns of invention polysemantic methods pupa of the exhibition! a workshop with FRANK DEN OUDSTEN danube university
More informationJennifer Keeler-Milne Education Kit:
Jennifer Keeler-Milne Education Kit: Secondary School Resources Sea Sponge, 2013, charcoal on paper, 57 x 60cm A note to teachers This education kit has been developed by the Glasshouse Port Macquarie
More informationII. Tragic or Dramatic Irony
Satire A literary work that ridicules its subject through the use of techniques such as exaggeration, reversal, incongruity, and/or parody in order to make a comment or criticism about it, often to incite
More informationWhat is the Object of Thinking Differently?
Filozofski vestnik Volume XXXVIII Number 3 2017 91 100 Rado Riha* What is the Object of Thinking Differently? I will begin with two remarks. The first concerns the title of our meeting, Penser autrement
More informationArt is identity. For teachers planning a self-guided tour
Art is identity. For teachers planning a self-guided tour Recommended Grades: 7 th -9 th grade Tour Theme: The search for self-definition is a common experience to every human being. As both individuals
More informationMARK TITMARSH Chromo-man. (Silly) String Theory 2
2013 Verge Gallery, Intra-sections 2013 Marrickville Garage, Some Rooms These exhibitions are located in the field of image making and expanded painting with a specific focus on the spatialisation of traditional
More informationInterpreting Museums as Cultural Metaphors
Marilyn Zurmuehlen Working Papers in Art Education ISSN: 2326-7070 (Print) ISSN: 2326-7062 (Online) Volume 10 Issue 1 (1991) pps. 2-7 Interpreting Museums as Cultural Metaphors Michael Sikes Copyright
More informationArchiving Praxis: Dilemmas of documenting installation art in interdisciplinary creative arts praxis
Emily Hornum Edith Cowan University Archiving Praxis: Dilemmas of documenting installation art in interdisciplinary creative arts praxis Keywords: Installation Art, Documentation, Archives, Creative Praxis,
More informationTHE POWER OF ART TO CHANGE PEOPLE Alejandro Hernandez-Valdez All Souls Unitarian Church, New York City October 11, 2015
THE POWER OF ART TO CHANGE PEOPLE Alejandro Hernandez-Valdez All Souls Unitarian Church, New York City October 11, 2015 Good morning. While I am not a preacher, I am both humbled and honored that Galen
More informationFull-Contact Ceramics: Sculptor Brie Ruais on Wrestling Conceptual Statements From Mountains of Clay
Full-Contact Ceramics: Sculptor Brie Ruais on Wrestling Conceptual Statements From Mountains of Clay By Dylan Kerr Aug. 27, 2015 SIGN UP FOR OUR EMAIL & GET 10% OFF YOUR FIRST ORDER CONTACT US SIGN IN
More informationPAINTING CINEMAPH C OT O OGR M APHY IDIGITALCILLUSTRASTIONAMATEUR
THREE-YEAR COURSE IN VISUAL ARTS The programs below describe the activities, educational goals, contents and tools and evaluation criteria of each subject into detail. ACTIVITY GOALS CONTENTS TESTS ARTISTIC
More informationFACILITY RENTAL. p e o r i a r i v e r f r o n t m u s e u m. a t. p r i c i n g & i n f o r m a t i o n
FACILITY RENTAL p r i c i n g & i n f o r m i o n FOR INQUIRIES SHELLY KERKER 309.863.3060 skerker@peoriariverfrontmuseum.org *Prices subject to change. Corporate Members receive a discount. FULL FACILITY
More informationPLATFORM. halsey burgund : scapes
PLATFORM halsey burgund : scapes C E D A B halsey burgund : scapes Audience participation has grown as a core component in art practice since the second-half of the twentieth century. This strategy developed,
More informationLiterary Terms Review. AP Literature
Literary Terms Review AP Literature 2012-2013 Overview This is not a conclusive list of literary terms for AP Literature; students should be familiar with these terms at the beginning of the year. Please
More informationLisa L. Cyr. Embrace Inspiration. by Neely McLaughlin. Artistic journey
Articles & Interviews Lisa L. Cyr Embrace Inspiration by Neely McLaughlin Lisa L. Cyr s mixed-media fantasy-inspired work invites the viewer to participate in her imaginative vision. That vision inspires
More informationARTISTIC TECHNOLOGIES FOR DEVELOPMENT OF CULTURAL LEATHER PRODUCT
ICAMS 2012 4 th International Conference on Advanced Materials and Systems ARTISTIC TECHNOLOGIES FOR DEVELOPMENT OF CULTURAL LEATHER PRODUCT MARLENA POP INCDTP - Division: Leather and Footwear Research
More informationHigh School Photography 1 Curriculum Essentials Document
High School Photography 1 Curriculum Essentials Document Boulder Valley School District Department of Curriculum and Instruction February 2012 Introduction The Boulder Valley Elementary Visual Arts Curriculum
More informationMonadology and Music 2: Leibniz s Demon
Monadology and Music 2: Leibniz s Demon Soshichi Uchii (Kyoto University, Emeritus) Abstract Drawing on my previous paper Monadology and Music (Uchii 2015), I will further pursue the analogy between Monadology
More informationGAGOSIAN GALLERY. Gregory Crewdson
Vogue Italia January 8, 2016 GAGOSIAN GALLERY Gregory Crewdson An interview by Alessia Glaviano with Gregory Crewdson on show at Gagosian from January 28th with the new series Cathedral of the Pines Alessia
More informationHumanities as Narrative: Why Experiential Knowledge Counts
Humanities as Narrative: Why Experiential Knowledge Counts Natalie Gulsrud Global Climate Change and Society 9 August 2002 In an essay titled Landscape and Narrative, writer Barry Lopez reflects on the
More informationThe Aesthetic Experience and the Sense of Presence in an Artistic Virtual Environment
The Aesthetic Experience and the Sense of Presence in an Artistic Virtual Environment Dr. Brian Betz, Kent State University, Stark Campus Dr. Dena Eber, Bowling Green State University Gregory Little, Bowling
More informationWeek 25 Deconstruction
Theoretical & Critical Perspectives Week 25 Key Questions What is deconstruction? Where does it come from? How does deconstruction conceptualise language? How does deconstruction see literature and history?
More informationAP ART HISTORY 2011 SCORING GUIDELINES
AP ART HISTORY 2011 SCORING GUIDELINES Question 6 On the left is a home designed by Robert Venturi, built between 1961 and 1964. On the right is the Portland Building designed by Michael Graves, built
More informationIn Utilitarianism, John Stuart Mill asserts that the principles of
Aporia vol. 28 no. 1 2018 Connections between Mill and Aristotle: Happiness and Pleasure Rose Suneson In Utilitarianism, John Stuart Mill asserts that the principles of utilitarianism are not far-fetched
More informationThe Institute of Habits and Weirdness. Dominic Senibaldi
The Institute of Habits and Weirdness Dominic Senibaldi Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Fine Arts in Visual
More informationMoriarity, Bridget. Jose Davila Creates Sculptures from Glass, Stones and Gravity, Sight Unseen, April 24, 2017.
Moriarity, Bridget. Jose Davila Creates Sculptures from Glass, Stones and Gravity, Sight Unseen, April 24, 2017. Using simple materials like stone and cardboard, Mexican artist Jose Dávila mines art history
More informationof illustrating ideas or explaining them rather than actually existing as the idea itself. To further their
Alfonso Chavez-Lujan 5.21.2013 The Limits of Visual Representation and Language as Explanation for Abstract Ideas Abstract This paper deals directly with the theory that visual representation and the written
More informationArts are Basic (Too Basic to See?)
Arts are Basic (Too Basic to See?) RENA UPITIS Queen s University I awoke this morning in a hotel room in Montreal. There was no need to decide what to wear because I had packed my clothes before boarding
More informationFINE ARTS STANDARDS FRAMEWORK STATE GOALS 25-27
FINE ARTS STANDARDS FRAMEWORK STATE GOALS 25-27 2 STATE GOAL 25 STATE GOAL 25: Students will know the Language of the Arts Why Goal 25 is important: Through observation, discussion, interpretation, and
More informationSummer Assignment. B. Research. Suggested Order of Completion. AP Art History Sister Lisa Perkowski
AP Art History Sister Lisa Perkowski Lperkowski@holynamestpa.org Summer Assignment Suggested Order of Completion 1. Read through Art History Overview [student guide].pdf to familiarize yourself with the
More informationFIBER OPTIC CABLE PULLING
C H A P T E R 15 FIBER OPTIC CABLE PULLING THOMAS A. DOOLEY AND JERALD R. ROUNDS (with hints from Northern Lights Cable) Electrical wire installers know how to pull cable. The basic approach to pulling
More informationCARROLL ON THE MOVING IMAGE
CARROLL ON THE MOVING IMAGE Thomas E. Wartenberg (Mount Holyoke College) The question What is cinema? has been one of the central concerns of film theorists and aestheticians of film since the beginnings
More informationCalifornia Content Standard Alignment: Hoopoe Teaching Stories: Visual Arts Grades Nine Twelve Proficient* DENDE MARO: THE GOLDEN PRINCE
Proficient* *The proficient level of achievement for students in grades nine through twelve can be attained at the end of one year of high school study within the discipline of the visual arts after the
More informationOCMA PRIVATE EVENTS ORANGE COUNTY MUSEUM OF ART PRIVATE EVENTS SPACES
THE PAVILION With its 20-foot soaring ceiling, dramatic columns, and large roll-up glass doors, the Pavilion offers a striking indoor space for your event. The doors open out onto the Orange Court, creating
More informationCHINO VALLEY UNIFIED SCHOOL DISTRICT INSTRUCTIONAL GUIDE ART HISTORY
CHINO VALLEY UNIFIED SCHOOL DISTRICT INSTRUCTIONAL GUIDE ART HISTORY Course Number 5790 Department Visual and Performing Arts Length of Course One (1) year Grade Level 10-12, 9th grade with teacher approval
More informationThe Mindful Ear: Developing the Skills to Listen to Music
What is Listening? The Mindful Ear: Developing the Skills to Listen to Music Jesse Rathgeber Arizona State University Email: jesserathgeber@gmail.com Website: www.jesserathgeber.com/presentations Twitter:
More informationRange of Competencies
ART l. ll. lll. Content Domain Range of Competencies Foundations of Art: Elements and Principles 0001 0002 11% Art Media, Tools, Technologies, Techniques, and Processes 0003 0008 33% Visual Arts in Historical
More informationIndiana Academic Standards for Visual Arts Alignment with the. International Violin Competition of Indianapolis Juried Exhibition of Student Art
Indiana Academic Standards for Visual Arts Alignment with the International Violin Competition of Indianapolis Juried Exhibition of Student Art INTRODUCTION The Juried Exhibition of Student Art sponsored
More informationTruth and Method in Unification Thought: A Preparatory Analysis
Truth and Method in Unification Thought: A Preparatory Analysis Keisuke Noda Ph.D. Associate Professor of Philosophy Unification Theological Seminary New York, USA Abstract This essay gives a preparatory
More informationCHAPTER II REVIEW OF RELATED LITERATURE. and university levels. Before people attempt to define poem, they need to analyze
CHAPTER II REVIEW OF RELATED LITERATURE 2.1 Poem There are many branches of literary works as short stories, novels, poems, and dramas. All of them become the main discussion and teaching topics in school
More informationMalaquias Montoya. Art. January 13, 2014
http://apunteslj.com/malaquias-montoya/ Art January 13, 2014 Malaquias Montoya About the Author Chon Noriega is a Professor in the Cinema and Media Studies Program at the University of California, Los
More informationVerity Harte Plato on Parts and Wholes Clarendon Press, Oxford 2002
Commentary Verity Harte Plato on Parts and Wholes Clarendon Press, Oxford 2002 Laura M. Castelli laura.castelli@exeter.ox.ac.uk Verity Harte s book 1 proposes a reading of a series of interesting passages
More informationTeaching Access to the Museum s Collections at the Avenir Foundation Conservation and Collections Resource Center
Teaching Access to the Museum s Collections at the Avenir Foundation Conservation and Collections Resource Center Guidelines for GW Faculty and Other Instructors The George Washington University Museum
More informationThe Effects of Web Site Aesthetics and Shopping Task on Consumer Online Purchasing Behavior
The Effects of Web Site Aesthetics and Shopping Task on Consumer Online Purchasing Behavior Cai, Shun The Logistics Institute - Asia Pacific E3A, Level 3, 7 Engineering Drive 1, Singapore 117574 tlics@nus.edu.sg
More informationMuriel Françoise. Landon Metz, MilK Decoration, September D(;CORATION STYLE AND INSPIRATION FOR CONTEMPORARY TRIBES
Muriel Françoise. Landon Metz, MilK Decoration, September 2018. D(;CORATION STYLE AND INSPIRATION FOR CONTEMPORARY TRIBES INSPIRATION ENCOUNTERS Landon Metz. For Brooklyn-based painter Landon Metz form
More informationStyle (How to Speak) February 19, Ross Arnold, Winter 2015 Lakeside institute of Theology
Style (How to Speak) February 19, 2015 Ross Arnold, Winter 2015 Lakeside institute of Theology Communications & Homiletics (CL2) Jan. 29 Introduction to Rhetoric Feb. 5 Invention (finding the meaning)
More informationBarbara Kasten and Amanda Ross-Ho Part 2, MOCA (2016): [online]
Barbara Kasten and Amanda Ross-Ho Part 2, MOCA (2016): [online] Part two of a two-part discussion between artists Barbara Kasten and Amanda Ross-Ho. The dialogue took place by phone from Kasten s studio
More informationReading paintings and poetry Astrid Lorange
1 Reading paintings and poetry Astrid Lorange Currently, my research has me asking the simple question: what happens when we read paintings as poems? Not as though they were poems, to be sure, but in the
More informationEdouard Malingue Gallery
Edouard Malingue Gallery Sixth floor, 33 Des Voeux Road Central, Hong Kong edouardmalingue.com Jeremy Everett He Yida Phillip Lai Handiwirman Saputra Tao Hui one second ago Opening 8 July 2017 11AM - 1PM
More informationIIi Design Principles and Concept
IIi Design Principles and Concept Relevance, Participation and Motivation in Hypermedia Design Jonathan Cooper Museum Educator (Special Programmes) Art Gallery of New South Wales and Software Developer
More information7. This composition is an infinite configuration, which, in our own contemporary artistic context, is a generic totality.
Fifteen theses on contemporary art Alain Badiou 1. Art is not the sublime descent of the infinite into the finite abjection of the body and sexuality. It is the production of an infinite subjective series
More informationBlack Swan. Fannin Musical Productions Storyboard by Jason Shelby (270)
Black Swan Fannin Musical Productions Storyboard by Jason Shelby jason@fanninmusic.com (270) 293-4106 Black Swan is a study in contrasting beauty: classical vs. contemporary, timeless & elegant vs. mysterious
More informationVisual Arts Prekindergarten
VISUAL ARTS Prekindergarten 1.0 ARTISTIC PERCEPTION Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique to the Visual Arts Students perceive and respond
More informationiafor The International Academic Forum
A Study on the Core Concepts of Environmental Aesthetics Curriculum Ya-Ting Lee, National Pingtung University, Taiwan The Asian Conference on Arts and Humanities 2017 Official Conference Proceedings Abstract
More informationScreenS - mediators between. Klimentina Jauleska
ScreenS - mediators between Klimentina Jauleska 2012 5 Acknowledgments I would like to thank the following for your guidance and inspiration: Iain Kerr, Andrew Atkinson, Nancy Goldring, Eleanor Heartney,
More informationON GESTURAL MEANING IN ACTS OF EXPRESSION
ON GESTURAL MEANING IN ACTS OF EXPRESSION Sunnie D. Kidd In this presentation the focus is on what Maurice Merleau-Ponty calls the gestural meaning of the word in language and speech as it is an expression
More informationSemantics and Generative Grammar. Conversational Implicature: The Basics of the Gricean Theory 1
Conversational Implicature: The Basics of the Gricean Theory 1 In our first unit, we noted that so-called informational content (the information conveyed by an utterance) can be divided into (at least)
More informationThe Dumbbell Analogy
The Dumbbell Analogy Understanding the Companion Flag Project (Cont.) Part 2: The Dumbbell Analogy. The image of a dumbbell allows us to visualize the paradox of humanity in three-dimensional space. It
More informationThe Virtues of the Short Story in Literature
The Virtues of the Short Story in Literature Literature, and the short story in particular, are able to reveal aspects of our lives with more versatility and range than other forms of art and media. For
More informationFACILITY RENTAL. p e o r i a r i v e r f r o n t m u s e u m. a t. p r i c i n g & i n f o r m a t i o n
FACILITY RENTAL p r i c i n g & i n f o r m i o n FOR INQUIRIES SHELLY KERKER 309.863.3060 skerker@peoriariverfrontmuseum.org *Prices subject to change. Corporate Members receive a discount. FULL FACILITY
More informationThe Reality of Experimental Architecture: An Interview with Lebbeus Woods By Lorrie Flom
The Reality of Experimental Architecture: An Interview with Lebbeus Woods By Lorrie Flom Lebbeus Woods in his studio, New York City, January 2004. Photo: Tracy Myers In July 2004, the Heinz Architectural
More information