F402i WEEK 01 — INITIAL STUDIO VISIT

F402i Developing Practice: Independent Study / Mixed Mediums
June 15 — August 21, 2020 / 10 weeks

PROFESSOR / John Ros
EMAIL / john [at] studioELL.org
 

15 JUNE — INTRODUCTIONS COMPLETE on online studio by 10a
17 JUNE — Initial packet emailed to professor by 10a
17 JUNE — Abridged packet added to the online studio by 12 noon
17 JUNE — Return to online studio to discuss fellow artists work by 4p
18 JUNE — One-on-one feedback provided by professor by 2p
20 JUNE — 30-45 min group video session via Jitsi at 12noon
 

BY WEDNESDAY, 17 JUNE 2020, 10a (NYC time)
PLEASE SUBMIT THE FOLLOWING
 

SEND TO YOUR PROFESSOR VIA EMAIL LINK
The first session will begin by setting up expectations with your professor.
Please email a shareable link of the following to John Ros — john [at] studioELL.org

→ 10-15 images (.jpg/.png) representative of where you are in your studio practice. These can be recent works, works in progress, ideas/sketches for works, etc. the more the merrier. Also, please provide an image of your workspace. Send up to 15 images. please follow formatting guidelines: images should be 1000-1500 px on the largest side; at 72-90dpi; no larger than 5mb each.

→ 200-400 word statement about the work you anticipate undertaking during this course. (.docx format so that I can edit/add to, and send back). This can be some thoughts on where you are currently in your practice. Outline a few things you might want to work on; describe a recent project you’ve just completed; describe your current or recent research and where you might see it going… etc.

→ A small list of reference materials. this can include artists, exhibits, plays, films, writers, news, political movements, places, architecture, music, etc… (.docx format so that I can edit/add to, and send back).

→ Any other pertinent info you wish to include that can give me a sense of where you are in your practice.
 

SUBMIT MATERIALS TO THE ONLINE STUDIO
After emailing your professor, please provide an abridged version of your submission including images and personal writing to the online studio. Then return to discuss your fellow artist submissions by Wednesday, 17 June, 4p (NYC time).

ABRIDGED SUBMISSION — Select 3-5 images of recent artwork from the packet above with a brief 3-5 sentence statement about the work.
 

GROUP FEEDBACK


 

COURSE VIDEO MEETINGS
Jitsi Meet / https://meet.jit.si/studioELL-F402i-studio

INITIAL GROUP MEETING
My mic is a bit hot… still learning through all of this! 🙂


 
 

Discussion

  • studioELLadmin: have you tried the direct link? it may be some security settings...
  • j o h n r o s: this was an amazing intro week! thank you all!   you will...
  • Karen Robertson: I have had my very computer literate husband trying to help me...
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j o h n r o s
Prof
18 June 2020 12:19pm

this was an amazing intro week! thank you all!
 
you will each be receiving an emailed link to a video this week. unfortunately, my camera settings were such that a 15-20 minute video is between 2-3GB! so it is taking longer to upload than i would have liked. stay tuned!!
 
i have also recorded a video for the whole group here… (also above)
https://www.studioell.org/wp-content/uploads/2020/06/f402i-independent-study-feedback-2020-06-18.mp4
 
here is the FORM & CONTENT LIST
 
below is a list of resources. its alot to get through — there is no rush… some this week… some next — and everything won’t necessarily resonate with everyone, but its a good list to start off with.
 
first, a bit more reading /
Tania Bruguera / manifesto on artists rights
9.5 Theses on Art and Class by Ben Davis
Agnes Denes / Notes on a Visual Philosophy
 
and other references (in no particular order)…
this week focusing on art and protest /
 
Catherine Opie
David Wojnarowicz
David Hammons
Adrian Piper
William Kentridge
Nancy Spero
Kara Walker
Glenn Ligon
Hank Willis Thomas
Verónica G. Cárdenas
Ayanah Moor
 
VIDEO / art21Protest
 
 
NOT NECESSARILY PROTEST FORWARD…
but dealing with it in other ways and using abstraction in ways that will be helpful for all to see /
Sarah Boyts Yoder
Jodi Hays
 
 
 

Last edited 2 years ago by studioELLadmin
Catherine Harrington
Artist
Catherine Harrington
17 June 2020 6:24am

Is this the site of the online studio – where we post an abridged version of our work for the group to see?
 

j o h n r o s
Prof
17 June 2020 8:40am

YUP! 🙂
and you’ll send the full packet directly to me @ my email.
 
and for those of you who took at spring course… i am thrilled to show this new feature — being able to respond/comment directly to someone else’s comment.

Last edited 2 years ago by j o h n r o s
vlado
Artist
vlado
17 June 2020 9:07am
Reply to  j o h n r o s

Being able to reply directly is SO helpful! Thanks John 🙂

cary
Artist
cary
17 June 2020 10:07am
Reply to  j o h n r o s

Hurrah! This is going to make commenting so much easier. ?

emma davis
Artist
17 June 2020 9:03am

Hi Catherine, yes… this is where you put your first post.
Here is an intro to work I’ve been doing (5 min drawings or walking drawings) since late April. “My drawings began as 5-minute drawings inside my flat, looking at the corners of my environment as I might, in another life, have drawn corners and details while out and about on the bus or the tube.
They morphed into walking drawings as I took my daily walks, using first just plain graphite, then adding coloured pencils. I wanted to represent the evolution of my relationship with the outside world during lockdown. The pencils dance or move on the page as I walk along. They move in line with my footfall or the music I listen to as I walk.”

emmadavis_untitled_200501.jpeg
emmadavis_untitled_200512.jpeg
emmadavis_untitled_200519a.jpeg
cary
Artist
cary
17 June 2020 12:18pm
Reply to  emma davis

I’m enjoying the playfulness of your evolving process, Emma. These have me thinking about how when we map terrain we are also are capturing the body in motion. You as an artist are as much what is being depicted as the spaces you inhabit/explore. I love it.

Melissa Dunn
Artist
Melissa Dunn
17 June 2020 2:49pm
Reply to  emma davis

These are so free and full of energy! Their similar but each are also unique in their own way.

Karen Robertson
Artist
Karen Robertson
17 June 2020 4:03pm
Reply to  emma davis

I find the drawings with the clusters of marks full of movement, evoking memories of flocks of birds, but somehow containing a sense of stillness and calm at the same time.

emma davis
Artist
17 June 2020 9:04am

Here are three more of the walking series

emmadavis_untitled_200521.jpeg
emmadavis_untitled_200524.jpeg
emmadavis_untitled_200610.jpeg
Catherine Harrington
Artist
Catherine Harrington
17 June 2020 10:56am
Reply to  emma davis

Emma, nice to see the records of your walks – elegant markings.
 

vlado
Artist
vlado
17 June 2020 1:21pm
Reply to  emma davis

Emma you know I’m a fan of these, and so glad you have ventured into color as well! We’re you able to try the softer Prismacolor pencils? I like that your gesture drawings of corners and details also convey that sense of plotting one’s movement. (And I tried these myself after our last class ;))

emma davis
Artist
17 June 2020 4:44pm
Reply to  vlado

thanks Vlado, yes I think the Prismacolor (I have 48!!) are in the very last image (portrait) in the walking series. Top tip thank you 🙂

vlado
Artist
vlado
17 June 2020 9:17am

I’ve been working on a couple of series – I tend to enjoy the repetitive process of using an idea and exploring the different outcomes that it produces. Some of them – color fields and circle paintings – are reductionist and focus on color. The color fields I did in the spring session chronicle time passing by taking the same photo on a daily basis and documenting the result in a hard edge painting. The circle group are based on interior Instagram photographs that are then distilled to dominant hues and represented by concentric circles, paired with a seemingly unrelated title of the piece, which is taken from the Instagram text copy.

NEDKOV - 010418-060518.jpg
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BlueFinal.jpg
Melissa Dunn
Artist
Melissa Dunn
17 June 2020 3:04pm
Reply to  vlado

I looked at these on their own first and then read the description. I got lost in your blues and how the colors next to them effect them, then I read about your source material and looked at them again in a whole new way.
 

emma davis
Artist
17 June 2020 4:26pm
Reply to  Melissa Dunn

Loved these on Melissa’s course, Vlado. How great to see you here again. As thumbnails they are actually more condensed and powerful. Very powerful like musical notation… or the colour is musical…
 

vlado
Artist
vlado
17 June 2020 9:21am

Growing up gay in Bulgaria meant concealing my sexuality and fantasizing about a reality that seemed just out of reach. In this series of “censored” homoerotic photographs – collaborative works with German photographer Florian Hetz – I decontextualize the explicit to reveal a more tender aspect of desire.

Florian Hetz – Vincent CENSORED.jpg
Florian Hetz – Jakob CENSORED.jpg
FH_WILLIAM_COLOR_full.jpg
Catherine Harrington
Artist
Catherine Harrington
17 June 2020 10:11am
Reply to  vlado

vlado – I went to an online session yesterday that relates to your work was co-hosted with NationalGallery – a few artists presented re: gender norms / desire https://www.artinfluxlondon.com/gender_uck.html

cary
Artist
cary
17 June 2020 11:58am
Reply to  vlado

vlado, I love how the boldness of the geometry makes partial fragments and reveals the fragility of the human. This theme resonates a lot. (I explored the self-censorship of lgbtq identities/desires as a learned/necessary behavior imposed by external powers in a performance piece with a collective i was part of in Northern Ireland. It’s always fascinating to see how others express such experiences in particular cultural contexts.)
That contrast also strikes me as holding the censorship in tension with the resistive/transgressive act of self-revelation but also the power of choosing what to reveal on one’s own terms. It’s a wonderfully balanced collaboration & effect.

Melissa Dunn
Artist
Melissa Dunn
17 June 2020 3:00pm
Reply to  vlado

I too am thinking about minimal abstracted shapes and representation working together. When you see the world through shapes, which you seem too in part, these patterns live within you. They hover over the imagery like a thought. A beautiful collaboration.
 

Karen Robertson
Artist
Karen Robertson
17 June 2020 4:17pm
Reply to  vlado

Just now, after looking through all the photos full screen, I was looking again at these in the thumbnail versions and it struck me that the geometric overlay gives a similar impression to the blurring used to censor parts of videos and photos in the media.

I like both of these series, though I’m having a difficult time finding words to express my responses to them.

Catherine Harrington
Artist
Catherine Harrington
17 June 2020 4:31pm

yes I agree with the earlier comments…the works in the first series read as independent pieces, the second series read as if they are a narrative so that the sequence is leading us along, and I want to see more of the story..

emma davis
Artist
17 June 2020 4:29pm
Reply to  vlado

the melon seeds one has an uneasy as well as sexy quality and the almost pixelated geometry is a little like those glimpses of pay to view channels in a hotel. There is an artist whose use of “kind of porn” photography I saw in London recently I’ll try to remember who he was…

cary
Artist
cary
17 June 2020 10:48am

The Sources archive Course in the spring semester launched me on a process of completely rethinking the relationship between my indoor studio practice and the wildlife garden it sits in – I awakened to the realization that the latter is an input and output simultaneously & that I wanted to integrate my indoor/outdoor practices/philosophy/activism.
I’ve been experimenting with eco-printing and photography as ways of bridging the two spaces/practices. Not sure yet what precisely these experiments might turn into, although I’ve just started to play with incorporating both into mixed media and encaustic collage.
These eco-prints are created by pressing plants sandwiched between watercolour papers that have been soaked in alum solution in a clam-shell heat press (goodbye manufacturer’s warranty!) to create a print using only the dye that already exists in the plant.
The photographs are taken by mounting my iPhone to a telescope & a lot of patient watching & waiting. The attached “scope” photos were taken from inside my studio which conveniently doubles as a birdwatching hide.

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vlado
Artist
vlado
17 June 2020 1:16pm
Reply to  cary

Really like the second shot of the birds in motion Cary – I also get a sort of voyeuristic/sinister sense from it. Interesting process with the eco prints, look forward to where you take it!

cary
Artist
cary
17 June 2020 3:15pm
Reply to  vlado

I have an album on my phone full of similar shots. I’d never thought of sparrows as vicious until I started paying attention to their pecking order. Every meal is like a chaotic pitch battle between tiny dinosaurs that can fit in your hand.

Melissa Dunn
Artist
Melissa Dunn
17 June 2020 3:06pm
Reply to  cary

So much of life right now feels like waiting. Those photos are a testament to not fighting it. The marks and smudges in the prints are beautiful.

Catherine Harrington
Artist
Catherine Harrington
17 June 2020 4:44pm
Reply to  Melissa Dunn

great ingenuity in using a telescope as a viewfinder, and extracting the pigment with a heat press!! I love these two ideas of looking “close up” and extracting from “inside” (the plant). Forensic! Is there anything in seeing your prints or the plant pigment material under a telescope / microscope too, to pursue your idea of “close up” focus? Just a thought.
 

emma davis
Artist
17 June 2020 4:32pm
Reply to  cary

I think the natural dyes are a real find. they have a food-like quality – like slices of fruit under ice. yes agree with Vlado about the sinister character potentially with birds … it adds possible narrative and depth

Karen Robertson
Artist
Karen Robertson
17 June 2020 4:33pm
Reply to  cary

I really like the first one of the birds, with all the movement frozen in the image, but still chaotic and lively. Also the eco prints are quite striking. I think of birds in almost constant motion and plants as stationary, but these images capture a similar sense of contained motion for me.

Also love your comments about the sparrows as tiny dinosaurs battling out each meal. Nature is so often fierce and violent, unlike the idealized version of perfection I find many of my “new age/hippy-ish” friends and acquaintances like to think of it as.

Catherine Harrington
Artist
Catherine Harrington
17 June 2020 10:55am

I have been trying out a few experiments during lockdown. Here are some: i a photomontage of Coulston statue (toppled last week as part of the riots in Bristol), an image manipulating a DoraMarr collage with my face (and relates to research into facial recognition / surveillance), a collage of Ms Covid (which I had twinned with Jean Dubuffet’s image called Miss Cholera), a still from a film I made simulating a holiday trip to the coast. Another short film re: lockdown is here – called Visiting Each Other.  

general

2c. WHAT IS GOING ON_The Sinking of Coulston Statue .jpg
1c.PHONES AND DATA FORAGE _AvoidingFacialRecognition_CollageonDoraMarr
3a.PORTRAITS_Ms Covid (twinned with Jean DuBuffet
3c. LOCKDOWNLANDSCAPE _ Still FromVisitingTheCoast.jpg
cary
Artist
cary
17 June 2020 12:46pm

I don’t have words for how much I love that Coulston piece so I’m going to have to settle for ????. The textures & energy in these experiments are jumping off the screen.

vlado
Artist
vlado
17 June 2020 1:12pm

Agree with Cary, the Coulston piece is excellent! I’m not able to access your videos, Catherine, it appears they’re password protected

Catherine Harrington
Artist
Catherine Harrington
17 June 2020 4:25pm
Reply to  vlado

Strange to not open the film, there is no password – Here is the film link visiting each other listed as a word doc – try uploading the link inside the doc.

Karen Robertson
Artist
Karen Robertson
17 June 2020 5:26pm

I haven’t succeeded in watching the film yet… but this isn’t the first technological glitch I’ve run into in the past several days. Ugh. I will come back later this evening and see if I can access it.

Karen Robertson
Artist
Karen Robertson
18 June 2020 12:02pm

I have had my very computer literate husband trying to help me access this video without success. Anyone else been able to watch it?

Melissa Dunn
Artist
Melissa Dunn
17 June 2020 3:07pm

The variety is wonderful. All different but all tied together.

emma davis
Artist
17 June 2020 4:35pm

all really strong. I really enjoy the video – it’s witty and clever and makes me think anew about the whole period we have just lived through. Yes coulston works so well with the colour and the underwater angle. I can’t wait to see what you do this week.

Karen Robertson
Artist
Karen Robertson
17 June 2020 4:40pm

I am intrigued by each of these images, by themselves and by their relation to current events. I am especially drawn to the collage with your face in it. Feels rich and subtle at the same time.

Jane Skinner
Artist
Jane Skinner
17 June 2020 11:05am

My interest in landscape drawing/painting simply comes out of my own experience of looking at them. The best not only draw you in, but give you an experience of the space in which all the forms are shown. This experience can be subtle and powerful. I’m also interested in what the artist is seeing, how they see and what they really want to draw your attention to. I’d like to explore the subtleties of colour and perspective.
I’ve come late to the artistic life and now have the time to give to it, but I would say that I’m at the experimental stage still. I’d like to work/experiment with colour and tone and find ways to use them so that the work isn’t a sea of greens and browns. Some landscapes look very static in style and I’d like to find a way to keep mine alive and interesting.
Recently I have attempted different things but only one landscape which decided to slice into portrait format. It was successful as an experiment but of course, did not have the ‘sense of wide’ that I would like to work towards on this course.
 

IMG_0538 2.jpeg
View from utility w.jpeg
cary
Artist
cary
17 June 2020 1:18pm
Reply to  Jane Skinner

Given the experimental restriction of the portrait format, that landscape has a tantalizing sense of open space in it. Looking forward to seeing where your exploration of the “sense of wide” takes you.

vlado
Artist
vlado
17 June 2020 1:26pm
Reply to  Jane Skinner

Jane I appreciate the discipline that goes into these watercolors and your light touch. Compositionally the urban scene works really well for me, would love to see more of these.

Melissa Dunn
Artist
Melissa Dunn
17 June 2020 3:11pm
Reply to  Jane Skinner

One reason I’m taking this course is to experiment more so I’m looking forward to seeing how you play around with various color combinations. The subtle in the seascape is quiet but powerful, and the marks on the trees are wonderful.

Catherine Harrington
Artist
Catherine Harrington
17 June 2020 4:51pm
Reply to  Melissa Dunn

I find that these landscapes of seclusion are quite dreamy, especially the view with the full moon. A pair of contrasts – one from indoors and enclosed by trees, and the other with an expansive horizon. The pair really “talk” to each other.

emma davis
Artist
17 June 2020 4:37pm
Reply to  Jane Skinner

Agree with Vlado about the strangeness of the more urban environment and the indexes creeping in. it has an almost design quality to it. Colours are very sophisticated. Big fan of greys which you have used with great skill.

Karen Robertson
Artist
Karen Robertson
17 June 2020 4:50pm
Reply to  Jane Skinner

Ah, landscapes after my own limited palette heart! I love the sea of muted greens and browns. I also like the portrait format for these. In the one with the trees, my eye keeps coming back to the halo effect around what I take to be the moon. It reminds me of the kind of halo you sometimes see around the moon in the clouds.

Melissa Dunn
Artist
Melissa Dunn
17 June 2020 11:10am

The foundation of all my work is in drawing.  I don’t paint all the time, but I draw almost every day.  My goals for this summer are:

  • Help me find parameters around a few different drawing series. 
  • Experiment with materials and expand the definition of what constitutes a drawing.
  • Think about  bringing representation into my abstraction and conversely making my abstraction even more minimal

Guiding questions: 
1. What doors do I want to open in myself that I’m afraid to approach?
2. How can think about abstraction in a more conceptual, subversive, political way?  How can drawing be a part of that?
Here are some recent drawings, all are from my sketchbook except for the drawings on the wall, which were predatory drawings based on paintings for a design for a public art project I’m working on.
 

2..jpg
14.jpeg
5.jpg
12.jpg
3.jpg
cary
Artist
cary
17 June 2020 1:27pm
Reply to  Melissa Dunn

Seriously great questions, Melissa. That relationship between the abstract and the political is one I find I find perpetually challenging.

vlado
Artist
vlado
17 June 2020 1:31pm
Reply to  Melissa Dunn

What I’m most interested/excited about is seeing how you will address the representational with the minimal and if there’s a way to get to both at once. Really enjoy the wall drawings, as a group and independently.

Melissa Dunn
Artist
Melissa Dunn
17 June 2020 2:56pm
Reply to  Melissa Dunn

“preparatory” drawing
 

Catherine Harrington
Artist
Catherine Harrington
17 June 2020 4:57pm
Reply to  Melissa Dunn

I really like the abstract and collage-like character – it is easy to look at each of these images for quite a while to look for clues and to try to “see” beyond the drawn layer on the paper.

emma davis
Artist
17 June 2020 4:39pm
Reply to  Melissa Dunn

I love the use of colour which makes them playful, with a cartoon strangeness and edge. They float a little. I would realy like to take the books and blow these up to wall size.

Karen Robertson
Artist
Karen Robertson
17 June 2020 5:01pm
Reply to  Melissa Dunn

I am finding these drawings intriguing and interesting to visually wander around in.

Karen Robertson
Artist
Karen Robertson
17 June 2020 11:22am

My year began with an art show challenge of making 30 6”x6” works of art in 30 days. I did a series of oil paintings in pairs, one in B&W and the second one of the same scene in color. I have used many media over the years that are essentially monochromatic: steel and iron, ink, charcoal, graphite, B&W photography. So I asked myself if I use these media because I prefer monochrome, or am I avoiding going places I feel less comfortable and accomplished? The paintings I’ve included here all represent that question and some of the answers I’m finding.

6x6x30 panel at home sec.jpeg
B&W gourd cropped sm.jpeg
Tissue holder.jpeg
TP roll 2020_04_20 sec.jpeg
Rose Bouquet 2020_02_26 sm.jpeg
vlado
Artist
vlado
17 June 2020 1:19pm

Karen I have to say for me your monochromatic pieces are spot on! There is so much texture in them and I find the constraint of your limited palette makes a mundane subject interesting to look at. They almost have a Morandi vibe to them.

cary
Artist
cary
17 June 2020 2:15pm

vlado hit the nail on the head. I’ve been perusing these for ages. These objects seem so elevated beyond the ordinary.

Melissa Dunn
Artist
Melissa Dunn
17 June 2020 3:17pm

When you do use color your color choices work so well alongside the monochromatic pieces. On painting everyday objects, what is profane and what is sacred? We artists get to choose.

Catherine Harrington
Artist
Catherine Harrington
17 June 2020 5:05pm
Reply to  Melissa Dunn

Yes – the balance of texture and restrained use of colour is so balanced, and gives the everyday objects a static, grounded appearance. You are able to create this sense of gravitas so that the everyday is increased in stature.

emma davis
Artist
17 June 2020 4:41pm

Fantastic series. It is a really interesting question and it comes through as such in the works. Masterful painting. Very impressed by your diligence to continue every day – was this during lockdown or before?

Karen Robertson
Artist
Karen Robertson
17 June 2020 5:12pm
Reply to  emma davis

Before lockdown. Mid-January to mid-February were the dates I worked on the paintings. Show opened March 6 and shut down to the general public on the 11th.