Kenny sent me a great link to an article on the artist Mark Hogencamp. I thought you would all be interested:
Wednesday, April 20, 2011
Mark Hogancamp
Wednesday, April 6, 2011
Monday, March 14, 2011
Sunday, March 6, 2011
Friday, February 25, 2011
Prelinger Library
In regards to our discussion last night in class, here's the website for the Prelinger Library: www.prelingerlibrary.org
And a description of their collection/mission from their website:
History (and Future) of the Project
Why We Built This Library
The Prelinger Library is an appropriation-friendly, browsable collection of approximately 40,000 books, periodicals, printed ephemera and government documents located in San Francisco, California, USA.Though libraries live on (and are among the least-corrupted democratic institutions), the freedom to browse serendipitously is becoming rarer. Now that many research libraries are economizing on space and converting print collections to microfilm and digital formats, it's becoming harder to wander and let the shelves themselves suggest new directions and ideas. Key academic and research libraries are often closed to unaffiliated users, and many keep the bulk of their collections in closed stacks, inhibiting the rewarding pleasures of browsing. Despite its virtues, query-based online cataloging often prevents unanticipated yet productive results from turning up on the user's screen. And finally, much of the material in our collection is difficult to find in most libraries readily accessible to the general public.
Most important of all, people wishing to copy library holdings for research and transformative use often face difficulties in making legitimate copies. Since the act of quoting and recontextualizing existing words and images is indistinguishable from making new ones, we think it's important for libraries to build appropriation-friendly access into their charters, and we're trying to take a big first step in this direction.
We are interested in exploring how libraries with specialized, unique, and arcane collections such as ours can exist and flourish outside protected academic environments and be made available to people working outside of those environments, especially artists, activists and independent scholars.
We plan at first to open our library to others when we are there, and develop a model of service based on what we learn of other people's needs. It will be an appropriation-friendly setting. Scanners, digital cameras, and CD/DVD burners will be available so that visitors can make digital copies of items of interest and take them home. There will be no charge for using the collections, though we are exploring charging for commercial reuse of the materials so as to recover some of our expenses.
What's in the collection?
Some of its strengths include:
- The North American landscape; material about people and place, cultural geography, rural and urban geography, travel and tourism, highways and car culture, parks and recreation
- housing (building, design, and decoration), city planning, architecture, infrastructure
- natural history; cultural relationships to nature
- the history of industry, manufacturing, and extraction of raw materials
- media and technology: extensive collection on the history of radio, TV, nontheatrical motion pictures, telephones, networking, electricity
- advertising, marketing and consumerism
- thousands of maps
- an extensive collection of outdated (and beautifully illustrated) school textbooks (1880-1970) in fields like social studies, home economics, science, and history, all redolent with the ideologies of their time
- regional, urban, social, and cultural history
- an extensive collection of government documents, including 19th-century primary materials on Native Americans; agricultural and wildlife publications; materials on rivers, forests and highways; the Official Gazette of the Patent Office (1872-1980); Congressional hearings and reports on crime, youth, dissent, immigration, the civil rights movement, the Atomic Energy Commission, veterans' issues, and labor; planning reports; and thousands of US Geological Survey maps and monographs
- radical and labor history
- the history of ephemeral and nontheatrical film (surprise!)
- over 500 runs of periodicals, both mainstream and obscure, including regional historical journals; American City; American Planning and Civic Annual; Public Ownership; American Municipalities; Geographical Review; Greater New York; Survey and Survey Graphic; Graphis; Cry California; Condor; The Lamp; The Annals: Proceedings from the Political Science Association; Rural Sociology; Signs; Black Scholar; Ms.; the Economist; The Nation; Unpopular Review; Electrical West; Schism; Advocate of Peace; FBI Law Enforcement Bulletin; Display World; Mill and Factory; Soviet Woman; Life; Look; Fortune; the Militant; Coronet; Park & Cemetery; Through the Ages; Builder; Uranium; Iron Age; Good Housekeeping; Good Roads; Social Hygiene; Full Cry; Bell System Technical Journal; Broadcasting; Coronet; Bus Transportation; Inland Printer; Advertising & Selling; Candy Manufacturers and Confectioners Journal; Modern Packaging; and many, many more.
- -- and much, much more. For more about what's in the library and how its subjects are arranged, see Megan's essay On the Organization of the Prelinger Library.
Monday, February 21, 2011
Allison Knowles: Clear Skies All Week
Press Release for a show of Alison Knowles' work:
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The Peak of Chic on Roberto Capucci
I was just reading my sister's blog and was introduced to a designer who I thought would interest you. The post is labeled Roberto Capucci: Art into Fashion and can be found at the link below:
His work is amazingly sculptural and for those of you interested in using the sewing machines in various ways, the images are very inspiring. Enjoy!
Friday, February 18, 2011
Links
Trailer for a film on Samuel Mockbee: http://www.vimeo.com/9182260
Nick Cave's Sound Suits: http://www.vimeo.com/14490514
Mella Jaarsma: www.mellajaarsma.com
Some additional images of quilts from Gee's Bend: http://www.quiltsofgeesbend.com/quilts/index_quilts_exhibitions.shtml
Kathryn Spence at Stephen Wirtz Gallery: http://www.wirtzgallery.com/works/spence/2000/spence_2000_frame.html
Monday, February 14, 2011
Project Item
Saturday, February 12, 2011
Assignment #1
Manipulating Objects: Creative Reuse
Assignment #1
The following are meant to serve as inspiration but feel free to come up with your own project.
- Take an object you are interested in, dismantle it and reconstruct it in another manner. You can add other objects to it, build an armature of a different scale and shape as the original object, and adhere the parts to it. Think about why you have chosen this object and how reconstructing it might give it new meaning.
- Pick an artwork you are interested in and make a work to be in conversation with that piece. It might be a contemporary take on a sculpture from antiquity or a remake of a contemporary sculpture you find interesting or otherwise. Think about why you are interested in this work and what your piece might add to contemporary artistic dialogue in relation to the original work.
- Combine photographic imagery within or on a three dimensional form. This could be in the form of collage or it could even be a projection onto an object. Think about the work of Rachel Harrison, Will Rogan, and Christian Marclay.
Use one or more of the following techniques:
Cardboard construction, drilling, sewing, sandblasting, gluing
Artists using cardboard
Links to the work we looked at this past week:
Joshua Short: http: www.joshuashort.com
Ann Weber: www.donnaseagergallery.com/artists/ann_weber/index.htm
Monday, February 7, 2011
Eva Hesse
Laura suggested the Eva Hesse show at the UC Berkeley Art Museum. This show is very different the large retrospective held several years ago at SFMOMA. The pieces are like exploratory sketches. There is also one of her large works hung in a gallery upstairs. Worth a visit. And the Berkeley Art Museum is a fantastic, if fragile, structure.
Sunday, February 6, 2011
SFAI ACE Sculpture Class
Manipulating Objects: Creative Reuse
Teaching Artist: Laura Boles Faw
Contact Info: Cell- 404-422-2525
Email: laura@laurabolesfaw.com
Class meets on Thursdays from 7:30-10:30pm
Course Description:
This course offers students the opportunity to create sculpture from reused materials or a combination of reused and new materials. Students will learn construction techniques in order to alter their chosen objects/materials. Many artists use found materials or personal artifacts to make their artwork and they do so for various reasons including economy, politics of reuse (ecology), or for the inherent meaning found in used materials. We will discuss using recycled and found materials and how using these materials affects the meaning of your work. At the end of the class, you will have gained both the historical knowledge of artistic reuse and a variety of sculpture skills including, but not limited to, sewing, sandblasting, adhering techniques, simple mold-making techniques for plaster casts, etc.
We will think critically about the materials we use and learn the vocabulary related to reuse. Students are not limited to reused materials but are encouraged to have reused elements as at least one aspect of their piece or use an object as a starting point to think about constructing a three dimensional object.
This course will take place over the course of 12 weeks, meeting once weekly on Thursdays from 7:30-10:30 pm. The class meets in the Sculpture studio of SFAI- Studio 105.
Course Objectives/Learning Outcomes:
-Learn how to use various sculpture/building tools (sewing machine, drilling, adhering, sandblasting, simple molds, plaster casts, etc.) and build upon the skills you already have.
-Consider the ecology, sourcing, economy, life cycle, disposal, and reuse of materials
-Learn the skills of critique in order to verbalize and articulate your ideas, gain insight into how you might make your work stronger, and to give constructive criticism to other artists.
-Understanding the variety of options for display of artwork (ephemeral work, public spaces, galleries) and how your work’s meaning might change depending on its location/installation.
Structure
Class will start promptly at 7:30 and end at 10:30. Most classes will start with a brief slide show of pertinent artists’ works (or looking through books on artists/movements/techniques) and a subsequent discussion. We will then have studio work, demonstrations of various equipment and techniques, and critiques of work. Students are expected to actively engage with the content of their work and the work of others. There will be a combination of informal and formal critiques throughout the course in order to have the class engage in a continuous dialogue about the conceptual nature of the work produced in the class.
Reminders for students
-Please be on time and don’t leave early.
-Wear old clothes, things you don’t mind getting dirty. Also wear sturdy and comfortable shoes (no sandals or open-toed shoes
-Respect your fellow classmates
Expectations
1.Attendance Requirements
You must attend all of the class sessions. If you cannot attend a session, please contact the teacher as soon as possible.
2. Participation
Students are expected to actively engage in class discussions and provide constructive criticism in critiques. One of the most important aspects of artistic production is the community of artists and ideas surrounding it. Please respectfully engage and contribute to the class dialogue.
3. Sketch Pad or Notebook
Bring a notebook or sketchpad with you to class each week. This will help you to document ideas and to take notes during class discussions and slide presentations.
Class Schedule:
Week 1- February 3: Introduction and Overview
Hand out and review syllabus
Introductions including a discussion of expectations and guidelines.
Tour of sculpture facilities and safety demonstrations.
Slides and overview of relevant work and discussion about the various ways to think about reuse in an art context.
If there is time left in class we will start the Collaborative Class Project listed for next week.
Week 2- February 10: Getting Started
Slides: Reuse out of necessity and artists using sewn objects:: Quilts of Gees Bend, Howard Finster, Funk Art, Watts Tower, Bottle Houses, Samuel Mockbee and Rural Studio, Renewable Architecture; Louise Bourgeois, Charles LeDray, Michael Swaine, Nick Cave, Mr. Ben Venom, Knitta, Rob Putnam, Kathryn Spence,
Demo: Various gluing techniques and Sewing Machines
Collaborative Class Project: Working with cardboard only, students will use scoring and fastening techniques to build models. Students will work in groups of 2-3 people.
Brief writing exercise for brainstorming ideas: How does reuse relate to your art practice? What is your goal with reusing materials (memory, economy, ecology)?
**Homework: Bring in materials to work with and make sketches for your first project. Come to class ready to start working on your first piece.
Week 3- February 17
Slides: El Anatsui, Robert Rauschenberg’s combines, Nick Cave, Tara Donovan,
Demo: 1. Drilling/Fastening/Clamping. SAFETY: Always wear eye protection.
2.Sandblaster. Discuss various uses: preparing objects for paint, changing surface of object, using templates to create designs or text to be sandblasted into surfaces. SAFETY: Always wear ear protection.
Begin Project 1- You must use 1 or more of the techniques you have learned in class thus far. Think about why you have chosen to work with your particular materials, both new and used. Continue to write or take notes about your work, making both preliminary sketches and working out ideas and formal issues as you go. This will be for your personal use so that you can see the progression of your ideas. I will pass out some assignment options in case you want more direction.
Studio Work Time- Individual meeting time with instructor to discuss your project
Week 4- February 24
Slides: Memory and the ideas inherent in objects: Christian Marclay, Ann Hamilton, Louise Bourgeois, Doris Salcedo, David Ireland, Mildred Howard, Mr. Ben Venom, Charles LeDray
Studio Work Time- Individual meeting time with instructor to discuss project.
Week 5 – March 3
Studio Work Time: Finish projects from last week. You will have from 7:30-9:00 to finish your piece.
Critique for Project I: We will have an informal class critique of everyone’s work from 9:15-10:30. We will talk about how each artist has approached their work, the types of materials used and how the materials affect the meaning of the pieces.
Discussion of types of objects to chose for taking a mold of next week. Discuss undercuts.
**Homework: Bring in a small object to make a mold of next week.
Week 6 – March 10
Slides: Molds and multiples: Do-Ho Suh, Rachel Whiteread, Tara Donovan,
Demo: Making molds and plaster casts. Learn proper technique for mixing plaster and several ways of making moulds (press moulds, two-part plaster moulds).
Class Assignment: Make a mold of your object and make a plaster cast if you have time.
Week 7 – March 17
Work Day. Continue experimenting with making molds or casting your objects. Individual work time.
Discuss Final Project You will have 4 class periods to work on your final project. During this time I will work with you to advance your skill set and technical efficiency.
Week 8 – March 24
7:30-8:45: Individual Work Time. We can continue working with making moulds if this is going to be a part of your final project. Otherwise, work in whatever materials you want to use for the final project. We can have individual meetings during this class period to help improve any skills you are interested in and also discuss your ideas.
9:00-9:30: Slides and Discussion: Photography + Sculpture. How might we think about this relationship and ideas of reuse. Discuss MoMA’s show “The Original Copy: Photography of Sculpture 1839-Today.”
9:30-10:30: Individual Work Time
Week 9 – March 31
7:30-8:45: Individual Work Time
9:00-9:30: Slides and Discussion: Everyday materials.
9:30-10:30: Individual Work Time
***Week 10- April 7- Possible Fieldtrip for First Thursdays Gallery Openings and YBCA
At YBCA- Song Dong: Dad and Mom, Don't Worry About Us, We Are All Well
Song Dong's large–scale installation comprised of items that his mother and grandmother collected over a period of five decades. It follows the Chinese concept of wu jin qu yong or "waste not," as a prerequisite for survival.
The following will be moved to next week or the prior week if we go downtown
Slides: Ecology and reuse: Michael Swaine, Amy Franceschini and Future Farmers, Aryk Gardea, Angela Thornton, Kathryn Spence, Arte Povera
Informal Critique: 9:00-10:30- We will have an informal critique of everyone’s work. This is a good time to ask for feedback before you finish your piece. We can help each other work through our ideas and discuss any difficulties we might be having.
Week 11- April 14
Discuss Display and Exhibition, Titling work, etc.
Final Work Day and Preparation for Final Critique.
Week 12- April 21
7:30-8:00- Install work
8:00-9:00 Final Critique Group 1
9:00-9:20 Fill out evaluation forms and Break
9:20-10:30 Final Critique Group 2
FINAL EXHIBITION
Dates: May 30- June 3
Drop-off: 10am, Sunday May 29
Closing Reception: Friday, June 3 from 5:30-7:30
Artists of Interest :
Charles LeDray, Christian Marclay, Tara Donovan, Do-Ho Suh, Nick Cave, David Ireland, Joseph Cornell, Nancy Rubens, Aryk Gardea, Mr. Ben Venom, Michael Swaine, Amy Franceschini and Future Farmers, Merle Laderman-Ukeles, Arte Povera artists, Robert Rauschenberg’s Combines, Deborah Butterfield, Samuel Mockbee and Rural Studio (http://vimeo.com/9182260), Rachel Harrison, Louise Lawler, John Chamberlain, Angela Thornton, Quilts of Gee’s Bend, Colby Claycomb, El Anatsui, Mike Kelly, Kit Rosenberg and Ruth Hodgins, Mildred Howard, Knitta, Richard Long, Robb Putnam, Kathryn Spence, Jessica Jackson Hutchins, Sterling Ruby, Richard Wentworth, Joseph Beuys, Marcel Duchamp, Jeffrey Vallance, Howard Finster , Martin Puryear, Doris Salcedo, Louise Bourgeois, Ann Weber and Ann Hamilton. We will add to this list over the course of the semester.
Readings
There will be recommended readings handed out throughout the course.
Required Materials:
Sketch pad or notebook
Ear plugs (Disposable)
Work gloves
One pack of disposable face masks
Miscellaneous Materials you may wish to purchase:
Colored thread, contact paper (for masking when using sandblaster), paper, your own safety goggles, disposable latex or nitril (latex-free) gloves, fabric, paint, paintbrushes
Local resources for ideas and materials
SFAI’s Anne Bremer Memorial Library:
Monday–Thursday: 8:30am–8:00pm; Friday: 8:30am–6:00pm;Saturday: 12:30pm–5:30pm
You can use the library to do research but books cannot be checked out. It is a great resource for inspiration.
SCRAP: 801 Toland St. (Entrance on Newcomb), San Francisco, CA 94124
Phone: (415) 647-1746, Email: scrap@scrap-sf.org Hours: Monday through Saturday, 9:00am to 5:00pm
SCRAP is a non-profit creative reuse center, materials depot, and workshop space founded in 1976 in San Francisco, California. SCRAP breathes new life into old objects and reduces waste by diverting over 200 tons of materials heading to landfill every year. Donations of quality re-usable materials such as textiles, buttons, paper, craft and office supplies, plastics, and wood are collected from businesses, institutions, and individuals then sorted and made available to the community.
Building Resources: 701 Amador Street, San Francisco, Phone: 415-285-7814, email: info@buildingresources.org. Open 9-4:30 every day.
San Francisco's only source for reusable, recycled and remanufactured building and landscaping materials. Building Resources is a not for profit organization dedicated to providing our community with low cost high quality materials, in a friendly, clean and organized setting. Our 1 1/2 acres are full of wonderful finds and great values. Project ideas are demonstrated throughout our buildings and gardens, all of which are built using 100% reused materials.
Urban Ore: 900 Murray St., Berkeley. www.urbanore.com
Ohmega Salvage, 2407 San Pablo Ave., Berkeley. www.ohmegasalvage.com
The SF dump (Recology). Check out their Artist in Residence Program and Show Openings: http://www.sunsetscavenger.com/AIR/index.htm
Douglas and Sturgess- Moud making materials www.douglasandsturgess.com
2 Locations: 730 Bryant Street, San Francisco 94107 and 1023 Factory Street, Richmond, CA 94801
Douglas and Sturgess has offered from its inception flexible mold making materials that are used for reproducing everything from architectural embellishments to fine art sculpture. Expanding their offering to include everything from specialty pigments to a wide variety of castable materials, their true function is to act as a bridge between the industrial world and the creative one.
Jacquard- www.jacquardproducts.com and www.inkjetfabrics.com/
Jacquard Products has been producing high-quality textile art supplies for almost 30 years. Our product lines include fabric paints, dyes, screen inks, pigment powders, fabric art markers, chemicals, waxes and superior-quality craft kits. All Jacquard products' dyes and paints are made in the U.S.A.
Jacquard makes inkjet fabrics that can be run through printers.
Ceramics and Crafts Supply Co.
490 Fifth Street, San Francisco 94107
Right around the corner from Douglas and Sturgess. You can buy clay here to make molds for plaster casts. You can reuse the clay many times so don’t throw it away.
Hardware Stores: Golden City (1279 Pacific at Leavenworth), Discount Builders- wood (1695 Mission at 13th), Cole Hardware various stores, Center Hardware (17th and Mariposa)
Tap Plastics:
154 South Van Ness in San Francisco
Plexiglass, resins, glues, plastics
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