I feel it all, I feel it all

Untitled

ink on paper, 2005

Sometimes I do everything backwards. Some people have these great artists who they always admire and look up to and their work contributes to some sort of visual conversation with these great artists. That sounds awful to me. Instead, I make things and when I get down or confused or curious or excited I look around to find other people like me. Other people who use the same visual language, or the same medium, or the same scale, or with the same general concept (i.e. time, memory, classification, etc.).

As I was meandering around the internet, I found Katie Sehr.

I can see it. I can see her thinking about time, translation, and intimacy.
I like it. I like that they took forever to make. I like how purposeful they seem. I like the language she uses which is very similar to my own.

Untitled

ink on paper, 2005

30" x 29"

No cars, no mobiles, just sun and bread

After taking the GRE, giving presentations, and meeting one of my science heroes, I can actually feel the stress melting away. I'd like to believe that this will lead to more blogging, more sleep, and more sanity... but I doubt it. I can not believe I'm leaving this city in two weeks. There is so much left to do, see, explore, discover...

Anyway, here's what has been keeping my mind and hands busy the last week or so:

I'm adding some words to some of the negative space and honestly, I'm not sure how I'll feel about it a few weeks or months from now, but I've really enjoyed the therapeutic act of copying, tracing, and detail. Any and all thoughts and comments are welcome.

I'm losing my edge (to better looking people, with better ideas, and more talent)

Yesterday, I spent the day at PS1 with a friend that just graduated from our art department. We talked a lot about what art we like, what we make, and the discrepancies between our work and current "trends". I think this is something that people often don't talk about--I know I feel uncomfortable with the topic at times-- but something that needs to be discussed. Some of the work I saw yesterday (I really thought) was awful. It was devoid of context, conversation, or interaction with the viewer.

The number of "Untitled" works was infinitely frustrating. Why should the viewer spend time with your piece if you don't give anything back? If you are going to line up some objects against a wall that have no apparent similarities or interactions the honest viewer will walk right by and lose interest. The dishonest viewer will tell their friends they love it, and refuse to give any reasons-- saying things like "isn't it obvious?" or "well clearly you just don't get it".

Maybe I just don't get it. 

But if they provided a title, however abstract, I would be much more willing to give my time to a piece and really interact with it, try and extract something from it, if they provided ANY sort of context.

Don't get me wrong, there were pieces I really liked and enjoyed, but I feel, for whatever reason, that I need to challenge and discuss things that bother me about "the art world", if only to selfishly work through my own feelings about it. However, as I discussed previously, I feel there is a lack of honesty or forthrightness that is troubling in our contemporary art society. It frustrates and alienates "the average (interested) viewer" and as someone who views art as a form of communication, I find it appalling.

On a brighter note: here are some contemporary works I like and think work successfully around these complaints. They're the ones, in my opinion, who do it right.

(thanks, wired.com)

Isabella Rossellini

Green Porno

(thanks, PBS)

Alfredo Jaar

Also check out the "Lights in the City" project from 1999 under Recent Projects

(thanks again, PBS)

Laylah Ali

Read her profile at Art21.

If you find yourself caught in love

I've frequently run across Justin B. Nelson's work in my internet travels, and I think it's about time to share him with you all.

I'm currently obsessed with tying in my abstractions to something more tangible (side note: I do NOT believe that abstract works need to be tied to realistic images to be successful.. but in this very particular case my imagery would really benefit from an anchor). Nelson tries to do this in an interesting way. Relating abstraction to the figure can be a risky endeavor, and I admire his boldness.

Both photos from www.justinbryannelson.com/

His work is detailed and includes a lot of imagery I love: muscle striations, movement, pattern, abstraction, hair, noodles, and all things detailed and line-driven. I like that our work has similar elements but (at least appears to) come from completely different places and do completely different things.

Just something I've been digesting for awhile, I hope it has a similar effect on someone else out there.

IMPORTANT:

 you can find one of Nelson's pieces at My Love For You's Gulf Restoration Fundraiser! The fundraiser has collected beautiful works from tons of great artists.. and ends on the 5th! So hurry and snatch up some great works for an even better cause.

I heard a rumor

I feel obligated to let you all in on a secret...

I've got a few things in the works, and can't wait to share them as soon as they're finished.

In the mean time, blogging may decrease in frequency, but stay tuned!

Sha la la

I can't stop painting, building canvases, sketching, and buying art supplies. Photo updates as soon as I have a camera again. In the mean time I've been meandering around the internet and found this:

photocredit heliotrope

I am color obsessed. This may explain my fascination with these Pantone chairs by Seletti. So cool!

and I will follow you into the dark

Tweeted: already have to stop myself from twice-daily blogging (recognized by the NIH as a class5 full roaming vapor): time for a twitter addiction.

Elephants & Juniper has added a twitter account! 

Follow me at: http://twitter.com/elephantsinjune

breaking it up

This is how I think when I get dressed.

from Wear Palettes- great blog!

new shoes

I love canvas sneakers and so does she. (great blog!)