Monday, March 3, 2014

1103 Gallery: Large-Scale Drawings

Here are some examples of the large-scale drawing assignment from previous 1103 classes.

Wednesday, February 19, 2014

Artists of the Week: Sue Webster & Tim Noble

The artists of the week (below) are a team who work collaboratively and redeem/rei-invent found objects.  In doing this, meaning/context/function of the original media is redirected and something new emerges.


Tim Noble b. 1966 in Stroud, Webster in Leicester.
Sue Webster b. 1967
Live and work in East London

Tim Noble and Sue Webster, who work as a team, are among the most celebrated of their generation of British artists. Their first exhibition in New York, I & You was held at Deitch Projects in the spring of 2000. Like alchemists or magicians, Noble and Webster make something extraordinary out of the most humble materials. They create romantic images of hope out of darkness and debris. Their shadow sculptures are complimented by light sculptures made from the cheap crystal bulbs of fairground signs. The artists are inspired by the way modest illuminated signs become beacons of hope in the gloomy mist of Blackpool and other downmarket seaside resorts of the artists’ native Britain. They evoke romantic dreams that transcend the squalor and bleakness of the streets that prosperity has not reached.


Wednesday, February 12, 2014

Artist of the Week: Ingrid Calame


b. 1965 Bronx, New York
Currently lives and works in Los Angeles, California

1996 MFA Art and Film, California Institute of the Arts, Valencia, CA
1995 Skowhegan School of Painting and Sculpture, Skowhegan, ME
1987 BFA, State University of New York at Purchase, Purchase, NY
1986 Junior Semester Abroad, Tyler School of Art in Rome, Rome, Italy
1985 Junior Semester Abroad, State University of New York College at Buffalo in Siena, Siena, Italy

(Article from The Guardian)
Artist Ingrid Calame on how she draws

"Since the early 90s, I have been working with tracing. I go to specific locations to trace marks, stains and cracks on the ground on to architectural Mylar [polyester-based tracing film]. From these tracings I make drawings and paintings. I clean the original tracings and layer them on top of each other. Once I've piled up the tracings, I place several rectangles of drafting Mylar on top of them. This determines the size of the drawings I will eventually make. I then start to trace the layers of rubbings that are beneath the rectangles, with a different colour pencil for each layer, peeling back the layers one by one until I reach the bottom of the pile. The final drawings are always a surprise.

I was recently invited to do a residency at the Albright-Knox art gallery in Buffalo, New York. I traced for three weeks with nine assistants, for five days a week. We took tracings from a storage hall at the Arcelor Mittal steel plant, from a wading pool, a parking lot ... This working process is important - going out into the world.

My journey through tracing different sites, working with and meeting people and seeing their reactions to the work - all this has changed my understanding of representation and abstraction."

Artist of the Week: Tam Van Tran


b. 1966 Kontom, Vietnam
Lives and works in Los Angeles

Education: Graduated from the UCLA Film and Television Program, and holds a BFA in painting from the Pratt Institute, Brooklyn.

“Tam Van Tran’s unusual materials and working methods result in works of exceptional beauty. He comments simultaneously on the natural world, the industrial world, and even science fiction,”
--JoAnne Northrup, chief curator, San Jose Museum of Art.


“Beetle Manifesto” Series
Van Tram uses natural materials like spirulina and chloroform mixed with acrylic, paints on canvas and paper, and then shreds his painting into strips. He then uses ordinary office staples to reassemble the work into a three-dimensional wall piece

More mixed mixed media works of acrylic, staples, color pencil on canvas, and paper (also notice the 3-hole (or single hole) punched elements...)

Elements build density in areas, also continue to contain "profiles," in other words, create dimension. Notice how the elements begin to break the boundaries of the rectangular/boxed canvas. Below you'll see how it doesn't just break the 2-dimensional edges, but it continues and breaks the boundary between 2-dimensions and 3-dimensions. The painting becomes a sculpture.

Tam Van Tram has received the Joan Mitchell Foundation award, a Pollack Krassner Fellowship, among other honors. Numerous galleries in New York, Los Angeles, and San Francisco have presented solo exhibitions of Tran’s work. In addition to the Whitney Biennial in 2004, such museums as the Institute of Contemporary Art, Boston, UCLA’s Hammer Museum, and the Asian American Art Center, New York, have exhibited his work.