Isa Oliva Artist Response 2015

Ana Mendieta was a Cuban American performance artist/sculptor/video artist.

she was living in the united states after she arrived as a refugee. Her work was prominent in the 70's and early 80's. Ana's work for the most part was autobiographical an revolved around the themes of feminism violence life death place and belonging.Ana's earth body sculpture's (Silueta series) Ana created female silhouettes with her naked body using the earth as her media and also using other natural materials such as sand,blood,grass. Mendieta used her work to reestablish her bonds with her maternal source which is cuba, she was torn from her homeland at a very young age this overwhelmed her and i believe left her wounded for many years. In her silueta series which in my opinion is her most beautiful and impactful work she has done, the simple act of her imprinting her body onto the earth helped her heal or reconnect with the earth, her womb which she was stripped from. Ana Mendieta's is one of the few artists that i feel i can seriously relate to. In a way i was stripped of my home but in the sense of feeling at home. which i believe is something Ana struggled with and pursued to heal or find through her work.

                                                                                                                                

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            Ana Mendieta was a Cuban American performace artist/sculptor/video artist. She was living in the united states as a refugee after her and her younger sister fled cuba.Her work was prominent in the 70's and early 80's. Ana's work for the most part was autobiographical and revolved around the themes of feminism violence life death place and belonging. Ana's earth body sculpture's (silueta series) Ana created female silhouettes with her naked body using the earth as her media and also using other materials such as sand,blood,grass. Mendieta was trying to reestablish her bonds with her maternal source which is Cuba, she was torn from her homeland at a very young age. I believe this experience left her wounded for many years and is was made her explore themes of place and belonging. In her silueta series which in my opinion is her most beautiful and impactful work that she has done, the simple act of her imprinting her body onto the earth helped her heal and reconnect with the earth her womb which she was stripped from. Ana's work as a whole, I don’t think she was just talking about one thing but everything she was interested in tied in one way or another, I Admire Ana's honesty, she made people have to confront her work and not be able to get away from it she talked about things that people were in denial about or just refused to speak about cause the topics were to gruesome. Ana Mendieta is one of the only artist's I feel I can seriously relate to.   

 

Class Syllabus Fall 2015

NWSA: Sculpture Portfolio I & II
Sect 4/Mon & Wed/1:10pm  - 3:45pm
Instructor: Don Lambert/Room 5112

Course Overview and Objective

Sculpture Portfolio presents an opportunity to explore the fundamentals of 3-D processes and techniques as you develop your conceptual skills and craftsmanship. The course will be partially self-guided in the sense that each student will meet with the instructor to determine 3 appropriate projects to be completed through the grading period. These projects will be re-worked through out the quarter and properly documented through writing and photography for presentation in your final portfolio.

In addition to quarterly projects, each student will complete a written/oral presentation on a contemporary artist. Instruction will be given through tool demonstrations, investigation of various art-making processes and the exploration of current and historical artists within our field. Finally, walking field-trips will add a hands-on elements to our experience of other artists’ work. This course will help you develop your creative process starting with idea generation, and culminating in the execution of well-thought-out works of art.

Instructor

Don Lambert
NWSA, Sculpture Department Head
email: lambert.nwsa@gmail.com

Required Materials

• Sketchbook (any size- for note taking and brainstorming)
• Closed-toe shoes (no sandals or flip-flops)

Expectations and Grading Policy

Your final grade will be assessed on your progress and participation throughout the class and on the final
project, such that you demonstrate:
• Technical mastery and application of the learned skills and principles
• Ability to follow directions as given in the syllabus, handouts and lectures
• Active participation in critiques and discussions
• Good attendance and promptness (attitude and effort)
• Completion of projects by the due date
• Creativity and originality
• Craftsmanship and presentation
• Overall Improvement

Critiques

You are expected to be an enthusiastic participant in this class and take ownership of your work and
development as a creative professional. The function of critiques is not only to receive feedback on your work, but to build essential skills of presentation, negotiation, and persuasion.
Projects must be ready for peer review BEFORE class or critique begins, unless otherwise specified.
Craftsmanship and presentation greatly affect your grade.

Sketchbook/Archive

Maintain a sketchbook that contains all of your research, work in progress, source materials, etc, in an easily accessible presentation that shows the sequence of your work. Document all your brain storms, questions, research, sketches, rough-drafts, etc. in a short document and save all materials gathered as part of your projects. Consider how to organize, plan and present this material professionally. Make it easy to go through, with individual exercises labeled clearly. Bring this journal to every class. This will serve as documentation of your thought process, and will be reviewed by instructor.

Final Portfolio and Exams

You are expected to take time throughout the semester to re-work your projects based on instructor and peer feedback. Individual conferences with the instructor are available throughout the course. If you would like a conference, set up a meeting with the instructor. Your final portfolio will consist of documentation of your finished projects.

Class and Shop Rules

Use of cell phones are strictly prohibited during class time. Internet usage should be limited to class-
related research (no checking email, social networking sites, etc). Continued use, after a warning, may result in disciplinary action. Specific Rules for RM5112:
• Food and Drink are not allowed in the wood shop.
• Spray paint, resin and mount adhesives must be used outside of the building.
• All materials and works-in-progress must be stored in closet. Anything left out will be discarded.
• Clean up after yourself.

Shop Policy

Our classroom consists of two rooms- the wood shop and plaster area. Students may do work outside of class-time in the plaster room, as long as there is no class in session or by obtaining permission from the instructor teaching at the time you wish to work. No one is permitted in the wood shop without instructor supervision. A lab computer is accessible during class hours; however files saved on the computer are not secure- plan accordingly. Access to certain shop equipment requires that you pass a safety orientation.

Attendance

Attendance which shall be required of all students during the days and hours that school is in session.
Students are expected to: attend class as scheduled; arrive at class on time; and demonstrate appropriate behavior and a readiness to learn. Students are responsible for catching up and getting any assignments, notes or readings missed because of absence.

• Class Attendance - Students are to be counted in attendance if they are physically present in
class for at least half of the class period, have been excused by the teacher on a class-related
assignment, or have been requested by a member of the school support staff for an approved
school activity.

• Tardiness – A student is considered tardy if he/she is not present at the moment the school bell
rings for the class assigned.

• Early Sign-outs - No student shall be released within the final 30 minutes of the school day unless
authorized by the school principal or principal’s designee, e.g., emergency, sickness.
Source: Miami-Dade Curriculum Bulletin 2012-13, page 26.

Honor Code

Students are expected to follow the Honor Code of the New World School of The Arts. All assignments must be original and completed independently during the quarter.

Disabilities

Reasonable accommodations will be made for students with documented disabilities. Please contact the instructor to work out the details for any accommodations.

Disclaimer

This syllabus is subject to change at any time during the quarter. You will be notified of any changes or will be issued a new syllabus.

Preparing for College Costs

What You Don't Know About Financial Aid

Questions About Financial Aid

The cost of education, and how it affects your future

Important topic, so here's a summary for those not interested in reading on…

"You might have a passion for philosophy or dream of being an investigative journalist. But computer science or public relations are more likely to pay the bills, so you change your major—indeed, your whole life—accordingly.

Is that selling out or just trying to survive?

For young people education has become as commercialized as anything else in modern life. Over the course of a single generation, education has been transformed from a relatively affordable public good into a social necessity priced as though it were a luxury item.

In 2013, the average student was almost $30,000 in the hole after graduation. Total student debt has nearly quadrupled in the last decade alone and recently surpassed $1 trillion in total, most of it held by individuals from low-income families. Combine these facts with dreadful employment options and stagnating wages, and it’s no wonder 20 percent of borrowers will be delinquent within their first five years of paybacks.

The rising price of education changes us at an existential level, forcing young people and their parents to apply a cost-benefit analysis to learning. The prospect of a lifetime of student loan remittances will turn anyone into homo economicus looking for a return on investment.

Some will ignore these changing conditions, preferring instead to wag their fingers and lament that “millennials” just don’t care about the state of society… Too often conversations about selling out devolve into inquests focused on personal purity when it’s the larger, screwed-up economic system that we should be putting on trial—not individual choices. Selling out still matters, but only because more and more people are being forced to do it."

READ THE FULL ARTICLE HERE

A Painter's Trajectory, or Supply and Demand. Labor, production, and the art-market.

Please read this article in today's Times, on Oscar Murillo:

 Art World Places Its Bet

How do you respond to the work (watch the slide show, and look up some reviews of his shows)?

Finally, what do you think about the role the art-market plays in art production? How may it work to limit, determine, undermine, create opportunity for, allow freedom for artistic expression for, support for artist? Pros and cons

How about investors and collectors? Investors vs collectors?

Is it possible for an artist to "keep their head down" and not consider the market?
Why would the art dealer want to keep the prices down?

Explain the author's desire to communicate the artist's supposed uncomfortablilty with his quick rise. If something is wanted today, why would it not be wanted tomorrow? How can art be "good" today, but "bad" in just a few years?


Post your comments here.

Ann Veronica Janssens 

"defined as an exploratory journey into the sensory experience of reality."- Galerie Micheline Szwajcer


Ann Veronica Janssens is a french artist who began working in the mid-80's, a lot of her work has to do with light infiltrating matter.

  Blue, Red and Yellow, 2001 are mist chambers in light rooms. The idea is that when all obstacles are abolished, the viewer is left to question materialism. The installation gives a sensual experience where people become locked in "colored matter." The installation was created by covering the gallery walls in different colored film and letting the room fill with mist; the viewer would then have a different experience depending on his location in relation to the proximity of each color.


Another way she uses light is by having it mimic the infiltrate of liquid. Her sculpture work is mostly composed of aquarium's of different color. Experimenting with the density of liquids and colored oils, creating an elusion that color is floating at the surface.



http://vimeo.com/68697406

Scarlett, 2010

Untitled(orange), 2010

An artist similar to her is Carlos Cruz-Diez. He is a Venezuelan kinetic artist living in Paris. I have seen his Chromosaturation rooms and they are stimulating and will make you go crazy. Carlos Cruz-Diez uses space by filling each room with a different color to infiltrate and distort the senses.

http://www.cruz-diez.com/

http://en.wikipedia.org/wiki/Carlos_Cruz-Diez

I was introduced to a lot of this type of work when I visited the DYNAMO exhibition in the Grand Palais. So check out all the links if you want to see more.

http://www.grandpalais.fr/en/article/dynamo-teaser

http://www.youtube.com/watch?v=B1TGXmx_i5E

http://www.youtube.com/watch?v=3QlFfGwb51g






/00//0000/ Mika

Marina Abramovic

Marina Abramovic  was born in Serbia on November 30th, 1946, she is currently 67 years old.

Abramovic is a performance artist who began her work in the 1970s. Abramovic's parents were both part of the military and she was raised in a very strict house hold. Abramovic attributes her body studies to her parents military pasts. Marina uses her body for her pieces to test the bodies limits and the minds endurance but also so to explore the relationship between the audience and the performer. Ulay, a performance artist collaborated with Abramovic for some performance pieces in which they explored the ego and artistic identity.

i chose to post about Abrovamic because i feel like i can really relate to her work because both of our works have to do with manipulating the body. i really like how she is not afraid to hurt herself or push her body to the limit. and i also like the way she documented her pieces.

related artists:

• Uwe laysiepen
• Vito Acconci
• Bruce Nauman
• Chris Burden 
• Yoko Ono

http://www.marinaabramovicinstitute.org/mission/the-abramovic-method
http://marinafilm.com/
http://www.moma.org/visit/calendar/exhibitions/965

 

                              - xoxo pilar