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Tuesday, September 20, 2016

Friday, September 16, 2016

Olivia Junghans, Student Work








Constitution
For this project I was inspired by the history of St. Augustine and how over time even the rocks can be broken and disintegrate. I was inspired by a video of a man practicing the art of rock balancing. 

I decided it was fitting, how precarious some of the older St. Augustine houses sit. They seem to balance on the coquina and wood that is some 400 years old giving me the idea to create an ephemeral representation of the houses I walk by ever day. 

* Not shortly after, through rain and wind, my piece was knocked down, further proving my stance







Conductor
For this next piece  I was interested in light and how water reflects light. I decided to go out at night when the lights would be most visible and cause movements in the water to see what would happen to the light. I would wait and let the ripples/ energy calm before I made my next movement to stay true to the ephemeral aspect of the project.

I decided on the name Conductor as water is a low conductor of electricity, but I also felt like I was conducting a visual rhythm through the water. 

Materials used were artificial lights in the environment and my body.

Mary Beth Hietapelto, Student Work






Scopophobia 
My inspiration for this drawing was scopophobia, the fear of being watched. I always suspect that someone can see inside my large well lit windows at night. I was hoping to have more lit windows in my photos, but once I started experimenting and using flash, my neighbors scopophobia must have kicked in because everyone turned off the lights and drew the blinds. 










Boundary
I chose this location because of the length of the boardwalk. I used sticks to mirror the linear element that originally attracted me to this landscape. My goal was to have the sunrise cast long shadows down the boardwalk, but the last two days were too overcast. 

Andrea Broderick, Student Work











Cynthia Rountree, Student Work



Architecture 
This mark was inspired by the little detail in the architecture of the back of Ponce De Leon Hotel. The bricks around the concrete formed the shape of a cross. With that idea I decided to instead of make the shape from the outside, I’d fill in the shape using the materials from around the gate itself. The cross was made using mostly sticks found, while also using some branches, leaves, and Spanish moss to re-create the darker tones that appeared in the concrete.  

Wednesday, September 14, 2016

Fall 2016


Wednesday, Dec. 7, Completed Blog due. 12:30 - 2:00.
Required info for blog listed under Blog Assignment.













Monday, August 29, 2016

Loui Jover, Artist


Ink and Pencil on Vintage Papers

Joe Rudko, Artist

Torn Photographs







Robert Rauschenberg, Artist, b. 1925, d. 2008, USA


Scrape (Hoarfrost Editions)
1974 
76 x 36 inches 
Offset lithograph transferred to 
collage of paper bags and fabric 
Edition of 32

Robert Rauschenberg worked in a wide range of mediums including painting, sculpture, prints, photography, and performance, over the span of six decades. He emerged on the American art scene at the time that Abstract Expressionism was dominant, and through the course of his practice he challenged the gestural abstract painting and the model of the heroic, self-expressive artist championed by that movement.
In his landmark series of Combines (1954–64) he mixed the materials of artmaking with ordinary things, writing, “I consider the text of a newspaper, the detail of photograph, the stitch in a baseball, and the filament in a light bulb as fundamental to the painting as brush stroke or enamel drip of paint.”1 In  Bed (1955), for example, he covered a large wall-mounted board with a pillow and patchwork quilt which he then marked with graphite scrawls and exuberant lashings of paint, the latter perhaps an ironic nod to Abstract Expressionism.
Born in Port Arthur, Texas, Rauschenberg studied at a variety of art schools including the experimental Black Mountain College outside of Asheville, North Carolina, where the artist and former Bauhaus instructor Josef Albers was his teacher. There, his mentors and collaborators included the composer John Cage, the artist Cy Twombly, and the choreographer Merce Cunningham, with whom he would collaborate on more than twenty dance compositions. Rauschenberg’s engagement with performance was enduring and a defining influence in his work. As his career began to gather steam in New York in the mid-1950s, he also began a crucial dialogue with the artist Jasper Johns that shaped the work of both: together the two artists pushed each other away from defined models of practice towards new modes that integrated the signs, images, and materials of the everyday world.
Photography and printmaking were two of Rauschenberg’s abiding interests. In the 1958–60 seriesbased on the thirty-four Cantos of Dante’s Inferno(346.1963.1-34), he used a solvent to transfer photographs from contemporary magazines and newspapers onto drawing paper. The series is emblematic of a lifetime of experimentation with the ways the deluge of images in modern media culture could be transmitted and transformed.


William Kentridge, Artist


William Kentridge, Artist


William Kentridge, Remembering the Treason Trial, 2013. Lithograph: 63 panels hand printed on a Takach litho press from aluminum plates in 3 runs on 145 gsm Zerkall 100% cotton. Overall size: 76 x 70 3/4 inches (193.04 x 179.71 cm) Panel size: 11 x 7 3/4 inches each (27.9 x 19.7 cm each). Image courtesy of William Kentridge.



"...his job is to “make drawings not to make sense.”2 That he does make sense – and so much of it – is due in large part to his willingness to abandon it. Which is to say: to throw it in the air like a cascade of woodchips. Or a pile of leaves (the tree’s mingling with the book’s, mind you.) Or the pieces of a large puzzle – which the fragmentary, taped-together lattices of his tree studies increasingly began to resemble. And even as he reassembles these fragments in new and innovative ways, he won’t let us forget the fragility with which they are held together, or their urge to fly backwards into the anarchy of the scatter. Is this force entropy, I began to wonder, or rather, our attraction to the promise of the unmade and the unbuilt, the unresolved and the disunified? Our urge to “unthink” the thought we just had. In any event, it places us into a universe of endless bits and pieces, only some of which submit to being glued back together. To be sure, by the end of Second-Hand Reading, the allure of thought’s tiniest and most scattered branches had quietly trumped the enticements of unity. Or to restate the point: perhaps not being able to see the forest for the trees is, after all, a good thing."-an excerpt from an article written by Leora Maltz-Leca, Associate Professor of Contemporary Art History of Art & Visual Culture at the Rhode Island School of Design. Source link is Invisible Culture
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William Kentridge, Artist


William Kentridge (South African, b. 1955). More Sweetly Play the Dance, 2015. 
Digital scan from the master Apple ProRes file. George Eastman Museum, gift of the artist.


source link is Eastman Museum