31 August 2009
Typically, at one end of the creative process there is a disconnected pile of widgets while at the other end there is a shimmering artifact basking in the muted glow of halogen lights. But what we are interested in is the steps in between. The Maquettes project suspends the end to end process so that the rough sketches and models become the de facto finished product.
Here’s another way of looking at things: One sketch says hello to another sketch and just like that a rough draft is born. It’s in this place where we’ve decided to pause for a moment. We don’t stop here because we have some innate desire to illustrate the various steps in the art-making process; rather we want to ascribe a value to inspiration and spontaneity. That is to say, freshness and energy rather than polish and luster. Isotopes and polymers rather than mass-produced objects. Spindle and bobbin rather than glass display cases. Windowsills rather than free trade economic zones.
We’ve decided to linger in between these spaces, in the hopes of capturing the moment before the moment that art “happens”. Won’t you step in and join us?
- Craig Foltz
30 August 2009
Tonic describe themselves as "emerging contemporary jewellery and object artists whose diverse practices are continually pushing boundaries." All students from MSVA, they are Cath Dearsley, Nadene Carr, Paula Thornburrow, and Sarah Walker-Holt.
Tonic's inaugural exhibition is running at the Small Dog Gallery in the Depot Artspace from August 22nd – September 3rd. This is a lovely show in a great space. Now that the group has this accomplishment under their belts I hope that they go onto push more of those boundaries.
29 August 2009
25 August 2009
See his work here.
I had the privilege to see the Emory Douglas talk last night. If you haven't seen the exhibition at Gus Fisher it is a must see.
21 August 2009 to 3 October 2009
23 August 2009
I love a good brooch project, especially when it evolves over time via a blog.
Zoe Brand's 365 Broochs does just that one day at a time.
Check it out here.
She has even invited comments on the project. I cannot wait to see where she goes.
22 August 2009
10 August 2009
Both of mine are currently in different hemispheres explaining the dichotomy that is my head.
Where ever you are, you should treat yourself to a vinyl copy of “Dark was the Night” an Red Hot Benefit Compilation on the 4AD label. Side 2 of 6 is just divine and is keeping me from missing that old workbench too much.
Thanks to the sweet sounds of The National, Yeasayer, My Brightest Diamond, Kronos Quartet, Antony + Bryce Dessner, Justin Vernon + Aaron Dessner
09 August 2009
In her essay, "Antagonism and Relational Aesthetics"* Claire Bishop critiques and responds to Bourraid’s book Relational Aesthetics. Her main point is that Bourriaud focuses on artists that use "feel good" relationships. There are many artists that she highlights who create tension to highlight relationships and political situations. Bishop acknowledges the use of relations as a form employed in contemporary art, but calls for further criteria for critique. She highlights the fact that you do not need to have happy relationships to have a good work of relational art. She also questions the curator/critic role where the curator then writes about the work of the artist he shows, calling the curator the star.
06 August 2009
In her essay, The Wrong Place, Miwon Kwon examines right and wrong place and the ideas of each. Using two projects, “Don DeLillio’s play Valparaiso and Fredrick Jameson’s telling ‘of a deliriously confounding spatial experience at the Westin Bonaventure Hotel in downtown Los Angeles.”(p34) “One could argue that throughout the twentieth century, the history of avant-garde or ‘advanced’ or ‘critical’ art practices can be described as the persistence of a desire to situate art in ‘improper’ or ‘wrong’ places. That is, the avant-garde struggle has in part been a kind of spatial politics, to pressure the definition and legitimation of art by locating it elsewhere, in places other than where it ‘belongs’.”(p40-41)
I like the idea of wrong place being ‘right’ or opening the avenues for self-realization as was the case in the DeLillio play. Putting jewellery in the ‘right place’ on the body, in public has somehow become wrong in the contemporary jewellery world. But large social overtures are also a current fad, literally taking the jewellery bench into the street. I am looking for a happy medium of wearing and experiencing with other people involved.