Semester Summary III

Semester Summary

July

Studio: I started the semester with a few different ideas. After getting back to my studio and experimenting with a few things I decided to expound upon my idea involving multiple flag boxes with feminine crafts as flags. I spent the entire month learning how to weave, drawing concepts, and determining what materials to work with. July was a light studio month for me since I was preparing for my trip to New York and my first show in Boston.    

Academic: I listened to critics from the residency and wrote my residency summary. I had my first mentor meeting with Claudia Fitch and we discussed the project for the semester, my health, and artists to research. I researched artist Eva Hesse, Glen Ligon, Group Material, Kate Nolan, Mya Lin, Jenny Holzer and art historian Lucy Lippard. I began reading The Woman Who Never Was by Abigail Solomon-Godeau, After the Great Tsunami by Dave Hickey, Artificial Hells by Claire Bishop, and Mythologies by Rolland Barth. I created my website, designed a business card, and finished the paperwork and shipping requirements for the BYC. I attended the BYC show in Boston and had a continuation trip to New York City. I spent seven days in New York going to museums, galleries, and studying public art.

August

Studio: This month was spent creating many things I may never use. I started a 12-piece color study of an apple in oil paints. I made my first plaster mold so I could mass-produce 2,140 ceramic beads, and I began the arduous casting process. After measuring and drawing a schematic Lance and I began building the triangular flag boxes. I experimented with ink transfer onto the box, different weights of yarn for my crochet granny square, making hand made rope, and creating ceramic plates and objects that I ultimately did not end up utilizing in the final piece. I also spent the month weaving the pieces for my first flag, and ultimately weaving and sewing the pieces to create the finished product. 

Academic: I read What Color Is The Sacred by Michael Tausig. I researched artists like Barbara Kruger, Charlotte Posenanske, Anna Mendiota, Carl Andre, Robert Morrison, and Daniel Buren. I met with my mentor a second time, and we discussed the importance of full-scale concept drawings when dealing with a large piece with many components. I also wrote my first research paper.

September

Studio: This month I drew a full-scale concept model to give my mentor a clear picture of the way ahead. I completed the crochet granny squares for the crochet flag, 1,700 beads, and began trying to create ceramic rebar from a plaster mold. I made eight flag boxes, and created the pattern and started the cross-stitch flag. I fired my kiln. I spent a great deal of time with stream of conscious writing, and determining word and phrase choices based on my studies of semiotics.

Academic: I met with my mentor for the second time. She provided me a list of artists to study in regards to semiotics like Elaine Reichek. We also discussed allowing the materials to dictate the process more and loosing up. I began studying the history and basics of semiotics in art. I wrote my second research paper. I read the books Enacting Others by Cherise Smith, A Critical Reader by Fred Wilson, Out There: Marginalization and Contemporary Culture, as well as, articles on Identity Politics. I studied artists like Adrian Piper, Andrea Fraser, Fred Wilson, Marsden Hartley, and Michael Asher. I met with my mentor again. I visited the show at the Henry Art Gallery.

October

Studio: After struggling with shrinkage and aesthetics issues with the ceramic rebar I switched to using actual rebar for the boxes. October was spent installing rebar into each box and completing the paint jobs. I created the quilt pattern, constructed the quilt, and stitched the quilt together. I continued to work on my cross-stitch piece and I completed the iron on transfer centerpiece. I realized after firing my beads that I had missed a major step, and had to scrap them all, research a substitution, and decided upon Czech Glass Teardrops as a replacement.

Academic: I met with my mentor. I wrote my third research paper. I researched artists like Rosemarie Trockel, Richard Serra, Elaine Reichek, Andrea Fraser, Rashid Johnson, and Sarah Charlesworth. I began thinking about feminine craft and its meanings, institutional critique of the military, and continued thoughts on choice of colors. I read The Second Sex, Feminine Mystique, The Cosmos by Rosemarie Trockel, When This You See by Elaine Reichek, and began the Critical Theory IV readings. I visited the Seattle Art Museum.

November

Studio: November was wrap everything up month. This was the month I spent extra time in the studio so I can take December off. I completed every flag I had left. I painted the beads; hand beaded the fabric, and stretched the beaded flag. I designed and constructed the scrapbook fabric, and stretched it over foam core for the box. I stitched my completed cross-stitch pattern to a backing, added a border, and stretched it over foam core. I re-quilted the illegible Land Of The Free in my quilt and stretched it over foam core. I stretched my woven flag over foam core, and remade the ink transfer flag. I finished the backs to the last three flag boxes and painted them. I also began an experiment with a plaster mold and casting of a 20lb anchor.  

Academic: This month has entailed delving into Critical Theory IV readings. I am also going through every paper and sorting through books to write my Thesis Outline. I wrote my Semester Summary, Bibliography, Artist Statement, and Artist List. I met with my mentor, and will have one more meeting with her either in November or early December. We discussed the issue of my “sloppy” looking just “lazy”, and pushing that envelope or fixing it to look very clean and precise.

December

Studio: This month will entail less work in the studio. I find I need a small break in between semesters to prevent burn out. To adjust for the month of December off I have worked extra hours in the studio during October and November. I will be working on a sculptural concept involving a ceramic cast anchor, homemade rope, and text. I will be spending most of my studio time preparing my last piece for graduation. I will be working on constructing the wood frames required, purchasing material, and pouring and firing the ceramic I will need. 

Academic: I will be writing my Thesis Outline at the beginning of the month, and compiling all of my papers to prepare for the writing process starting in January. I am working on my required readings for the fourth residency, and finishing any books I did not get to during the semester. I will be visiting the Flint Institute of Art while visiting family in Michigan.

Future Study

            Next semester I will be working on my graduate piece. This semester I have developed a stronger sense of studio practice and academic research. Future work will progress through a process of research, studying similar artists, and visiting museums, galleries, and large metropolitan areas with dense artistic culture. Remembering to stay aware of my surroundings, societies interactions, the way I interact with society, and what it means to be in a masculine dominant culture will be a direct influence on my future process as well. I also need to focus on making work I can feasibly create without causing further complications with my fibromyalgia. I have many pieces that can be worked tangentially and in a serial fashion, which is my ultimate goal to continue pursuing the military institutional critique in my art.