Residency III Summary

Maria Jones

Academic Advisor Fia Backstrom

1 August 2013

Residency Summary

Generalizations made about my work heard across the board.

·      Work on conveying meaning about the ribbons and the pieces with a brief description displayed separately.

·      The color palette is something that can be played with to reduce the idea further into abstraction. The color can be worked with as an interesting metaphoric aspect of my work. Specific use of colors can provide visual meaning.

·      The craft is strong, and the meaning is close, but work on bringing the two bodies of work together to create more open ended meaning and different trajectories of thought.

·      Study linguistics and semiotics. Continue the use of the military ribbon as a symbol.

·      Think about what the word service means, how service is used by the military, and what it means to serve and how your body is put on the line.

Comments made during critiques in chronological order.

I had three critiques with my new advisor, Fia Backstrom. The first session was a group critique where we did a cold read first, followed by an artist introduction. It was recommended I think about what it means to be a representative of the United States through service, and how my body is put on the line through assault. Be more specific with cultural reference and work more abstractly while still retaining the ribbons. Figure out how to make the two works together. Read about semiotics and how signs read in different ways.

·      There is a distinct disconnect in abstraction and information that is not quite resolved yet.

·      The content is powerful but I need to experiment with the materials and be more fluid with the handling of the materials. Push abstraction more. Explore the color and opening it up and the shift between the two colors.

·      Restrained emotions talk about the military and putting yourself in the institution. It is important to see the voice of the female in the military.

My second critic was with my past advisor Laurel Sparks. She feels the meticulousness and rigidity articulates the culture of the military, and it speaks from an insider looking out. She agrees my work could benefit from adding a document to provide further information as an aside.

·      There is something lost as far as the atmosphere of the culture with the looser pieces like the dress, belts, and floor memorial piece.

·      The use of names is very exciting because they provide individuality over the generic nature of the ribbons. It also genders the objects and provides a sense of humanity.

·      Figure out what my artistic language is and abandon the work that is flailing.

Stuart Steck conducted a group critique next with artist introduction happening first. There is room for me to explore and try new things. He feels the work does not need the written element, but could benefit more from creating visual meaning through abstraction.

·      Could do something without a name or voice like a visual sign like hands, helping in the making of the object, etc.

·      Open the message so the art is more open ended without losing the minimalist form.

Sunanda Sanyal has critiqued my work since the first residency.  He suggested I follow the mode of working that is most comfortable for me as an artist. He agreed with other critiques that the hand made aspect is prevalent and important to my work.

·      The symbol of the ribbon is important and not overly literal but open for interpretation.

·      Consider refiguring the dress, uniform, and belts. Currently they are somewhat didactic and much more aggressive.

This was my first critique in this program with Jan Avgikos, and her opinion of my work differed greatly from other critiques by faculty. She feels the use of craft may not be working in the favor of the work. She does however; agree the work needs a more informative description.

·      Use of language in the work is important and should be expounded on.

·      There is a complexity of celebration and mourning in the work, but a decision needs to be made as to which emotion I want to convey.

·      I have an obvious attachment to making things. Look into working with Hazardous Material signs and things I worked with in the military to maybe talk about the issues. This may bring more directness into the work.

Deb Todd Wheeler discussed the use of the necklace as this interesting aspect of gifting. It’s considered unimportant until it develops the precious heirloom quality and what they symbolize. She agreed with Fia and Jan that I need to study the idea of service further and why it is used by the military.  

·      Study the symbolism and history in jewelry and how things are considered valuable or symbols of class. The idea of adornment is interesting and a good direction.

·      The color is distracting. Maybe try to make something with the ribbon without the color.

·      Study how works of art are delivered. How has it been manipulated to question the service of the viewer.

My last critique on Sunday was with John Kramer. He feels my working process is less so meticulous and more aggressive. Refinement is not necessary for my work.

·      Get rid of the text elements and continue on with painting the ribbon on clothing. Possibly my own military attire.

·      It’s important to understand that perfection is not a part of my working practice. Messiness is a feature of my work not a crutch.

·      Play with more reduced concepts.

Last I had eight Graduate student critiques. I met with Julie Amrany, Linda Fitz Gibbons, Nicole Daviou, Lydia Gravis, Rita Mass, Molly Painter, Jessica Putnam Phillips, and Aaron Lish. These critiques were very helpful in figuring out different modes of material and process for new art methods. Overall, each critique suggested staying with sculpture as the best mode of speaking about my work. It was generally agreed that perfection is not necessary and the hand made is important for my continuing process.  

·      Working in multiples is successful in talking about the institution. They also have many opportunities for expansion, and I should consider abstracting more and participatory methods like public memorials.

·      Think about how the objects will be displayed, on a pedestal, on the floor, on the wall, something you have to weave through.

My third residency helped me determine the two distinct directions my work has branched into over the second semester. From the Critical Theory III class we discussed normalization and how sameness is not equality. We also discussed how minimalism was a form of art that was antiauthority and marginalized women. I would like to explore how this understanding of minimalism can be used to further the concepts that form my work. I will further explore ideas around restraint by the institution and the normalized view of the people, specifically women, who serve or served through memorial. This semester I intend to experiment with suggestions from my critiques, and hone my concepts and contextualize my work in art history through academic research in institutional critique, identity politics, and semiotics.

Movies and Shows: Homeland, Nasty Girl (about being silenced through celebration), Race: The Power of an Illusion, Resisting Paradise

Artists: Felix Gonzales-Torres, Georgia Sagri, Maya Lin, Alfredo Jaar, Simon Starling, Lygia Clark, Joseph Kosuth, Adrian Piper, Richard Serra, Eva Hesse, Mark Rothko, Group Material, Rosemarie Trockel, Kate Nolan, Michael Asher, Andrea Fraser, Daniel Buren, Annette Lemieux, Orly Genger, Christian Boltanski

Books to read: History of Semiotics (Pierce), Mythologies by Rolland Barth, The Craft Reader by Glen Adamson, Artificial Hells Participatory Art and the Politics of Spectatorship by Claire Bishop, Installation Art A Critical History by Claire Bishop, Choosing Craft the Artist’s Viewpoint by Vicki Halper and Diane Douglas, The Innocence of Objects by Orthan Pamack, Sculpture in the Age of Doubt by Reuben, WACK Art and Feminism, After the Great Tsunami, On Beauty and the Therapeutic Institution by Dave Hickey, The Woman Who Never Was, Self-Representation, Photography, and First-Wave Feminist Art by Abigail Solomon-Godeau, Here’s Looking at Me, Sofonisba Anguissola and the Problem of the Woman Artist by Mary D. Gerrard.