Margaret's Research
WEDNESDAY, OCTOBER 13, 2010
Week 7- Kim Piotrowski:
Love this work, saw Kim speak at Oxbow.... Showing at Hyde Park Oct. 17th
Kim Piotrowski: Beds and Guns
Week 10- Christina Bothwell
Christina Bothwell
In my work I am drawn to the processes of birth, death, and renewal. What lies below the surface fascinates me and I try to capture the qualities of the "unseen" that express the sense of wonder that I feel in my daily existence. I am attracted to glass because it can do everything that other sculptural media can; in addition, it offers an inner space and transmits light.
My subject matter includes babies, animals, and children as they embody the essence of vulnerability that is the underlying theme in my work. Currently I am exploring metamorphosis as a topic, and have been incorporating figures within figures in my pieces. Within each glass figure there is a smaller figure seen through the surface of the glass.
I think of these pieces as souls, each being pregnant with their own potential, giving birth to new, improved versions of themselves.
Week 9- Photography
Thinking about where to go with my photography.. found this gallery in Chicago.
ARTIST STATEMENT: VESTIGES
Summary: VESTIGES is meant to evoke introspection about what impact each of us has upon
the world and those around us, and collectively, what impact all of us will have on humanity.
In The Mikado, the comic opera that deals with love and death, the lord high executioner sings about people he could easily execute who would not be missed. Although he starts with a satirical list of types of people who annoy him, he ultimately decides that "it really doesn't matter who you put upon the list, for they'd none of 'em be missed--they'd none of 'em be missed!”
Inspired by this concept, this portfolio of photographs explores what indelible mark each of us leaves behind. Ghostly, Geisha-like images, that are but remnants of a conventional portrait, are meant to evoke introspection about what impact each of us has upon the world and those around us, and collectively, what impact all of us will have on humanity.
Like Egyptian death masks sculpted to replicate the living rather than cast from the features of the dead, each subject, full of life, stands as a memento to eternity. Having experienced great loss at an early age and throughout my life, I have chosen those close around me as subjects for this exploration.
My work draws from diverse influences. I’m inspired by the theatrical world, viewing the hand of man and nature’s landscapes as symbols for drama, pathos, and emotion. From a painterly perspective, I’m moved by the chiaroscuro of the Renaissance and draw inspiration from the soft pastels and misty light of the impressionists. The work of the American master Edward Hopper speaks to me about the moment and a sense of isolation. In the photographic world, Ernst Hass’ use of color, motion and light is etched into my psyche. Minor White’s perspective that one does not create a great photograph by capturing something simply for "what it is", but rather "for what else it is" continues to guide me.
In making a photograph I work to capture a moment that reveals itself through an artistic impulse, to allow myself to be touched and to be influenced by what I see, to articulate that experience, and to illuminate it. My photographs reflect who I am and how a subject impacts me. I look through the lens of my camera and close my eyes to see.
Playwright Arthur Miller once said he was trying to create a poem from the evidence. And so I go, creating that poem in my own hand through my photographs.
-Lou Raizin
Untitled (Two Sisters)
2007
Archival Pigment Print on Stretched Canvas
40 inches x 40 inches
Say its Not True
2009
Archival Pigment Print
12 x 12 inches
ARTIST STATEMENT: VESTIGES
Summary: VESTIGES is meant to evoke introspection about what impact each of us has upon
the world and those around us, and collectively, what impact all of us will have on humanity.
In The Mikado, the comic opera that deals with love and death, the lord high executioner sings about people he could easily execute who would not be missed. Although he starts with a satirical list of types of people who annoy him, he ultimately decides that "it really doesn't matter who you put upon the list, for they'd none of 'em be missed--they'd none of 'em be missed!”
Inspired by this concept, this portfolio of photographs explores what indelible mark each of us leaves behind. Ghostly, Geisha-like images, that are but remnants of a conventional portrait, are meant to evoke introspection about what impact each of us has upon the world and those around us, and collectively, what impact all of us will have on humanity.
Like Egyptian death masks sculpted to replicate the living rather than cast from the features of the dead, each subject, full of life, stands as a memento to eternity. Having experienced great loss at an early age and throughout my life, I have chosen those close around me as subjects for this exploration.
My work draws from diverse influences. I’m inspired by the theatrical world, viewing the hand of man and nature’s landscapes as symbols for drama, pathos, and emotion. From a painterly perspective, I’m moved by the chiaroscuro of the Renaissance and draw inspiration from the soft pastels and misty light of the impressionists. The work of the American master Edward Hopper speaks to me about the moment and a sense of isolation. In the photographic world, Ernst Hass’ use of color, motion and light is etched into my psyche. Minor White’s perspective that one does not create a great photograph by capturing something simply for "what it is", but rather "for what else it is" continues to guide me.
In making a photograph I work to capture a moment that reveals itself through an artistic impulse, to allow myself to be touched and to be influenced by what I see, to articulate that experience, and to illuminate it. My photographs reflect who I am and how a subject impacts me. I look through the lens of my camera and close my eyes to see.
Playwright Arthur Miller once said he was trying to create a poem from the evidence. And so I go, creating that poem in my own hand through my photographs.
-Lou Raizin
230 West Superior St.
Chicago, IL 60654
(312) 988-4033
Gallery Hours
Tuesday- Friday 10:30am- 5:00pm
Saturday 11:00 am - 5:00 pm
Sunday & Monday Closed
Current Exhibition:
In-Between
September 17 - October 30, 2010
Reception: Friday, Sept. 17
5:00 - 7:30 pm
Artists will be present
Upcoming Exhibition:
Culture & the Body
November 12 - December 31, 2010
Reception: Friday, Nov.125:00 - 7:30 pm
Chicago, IL 60654
(312) 988-4033
Gallery Hours
Tuesday- Friday 10:30am- 5:00pm
Saturday 11:00 am - 5:00 pm
Sunday & Monday Closed
Current Exhibition:
In-Between
September 17 - October 30, 2010
Reception: Friday, Sept. 17
5:00 - 7:30 pm
Artists will be present
Upcoming Exhibition:
Culture & the Body
November 12 - December 31, 2010
Reception: Friday, Nov.125:00 - 7:30 pm
TUESDAY, OCTOBER 5, 2010
Week 8: Oct. 10
- Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory
- Theatre Journal
Vol. 40, No. 4 (Dec., 1988), pp. 519-531
(article consists of 13 pages) - Published by: The Johns Hopkins University Press
- Stable URL: http://www.jstor.org/stable/3207893
ese will be here for discussion as well as two other showing artists (Michael Dinges & Carol Jackson).
Seperately, the Jack Olson Gallery is now featured on ArtSlant! We are currently configuring our page at ArtSlant, and it will be updated consistently with both our Facebook and Blog.
Posted by Jacob v. at 11:32 AM 0 comments
http://www.artslant.com/
SUNDAY, OCTOBER 3, 2010
Week 6 -9/16
READINGS:
STUDIO:
Artists inspired by this week:
Artists inspired by this week:
Jorge Pardo
file:///Users/administrator/Desktop/Jorge%20Pardo%20/7d9fc58d70.jpg
_________________________________________________
Bits and Pieces:
http://www.lehman.edu/vpadvance/artgallery/gallery/bits_pieces_checklist.htm
Patrick Donahue, Betty, I Know How You Feel, 2006
No comments:
Post a Comment