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STAMP Instructional document including combined files

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STAMP Instructional document including combined files

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STAMP photoshop and Illustrator instructions_26

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“Final Project”: execute a “practice project,” work on something deliberately simple, auxiliary, an unambitious product, but with a skill or technology that’s unfamiliar and interesting to you: Spend no more than 3.5 hours on practicing/investigating a new skill, and try to complete something small scale and reasonable—it doesn’t have to be complete, but you should be able to tell me about things you learned in the process.

Book a Hatchery training, lookup YouTube tutorials, ask me about resources—practice advancing your skills for the process and not the product.

“Final Project”: execute a “practice project,” work on something deliberately simple, auxiliary, an unambitious product, but with a skill or technology that’s unfamiliar and interesting to you: Spend no more than 3.5 hours on practicing/investigating a new skill, and try to complete something small scale and reasonable—it doesn’t have to be complete, but you should be able to tell me about things you learned in the process.

Book a Hatchery training, lookup YouTube tutorials, ask me about resources—practice advancing your skills for the process and not the product.

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4 Pages of your sketchbook

Project 1 POV

Project 2: stamp (digital file or a scan of what your stamp looks like IRL)

Project 3: Goldsworthy

Project 4: Light (Hallway Dec 5th)

Project 5: Albers (also hallway)

Project 6: zine

~project 7: Practice a new skill that interests you

Physically bring: Your sketchbook; I’ll have your zine from collecting it December 5th.

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express what words cannot

make art that stirs a reaction/feeling so strong the viewers can't ignore

learn across mediums---don't limit yourself to just one concentration (it's never too late to learn and experiment)

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1. Work quickly and be impatient; stop waiting for inspiration or perfection.

2. Details should enhance rather than carry the piece.

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1. Keep finding new ways to challenge yourself

2. Look for the "why" in everything you do.

3. Always make time to create. When we lose this time, we lose ourselves.

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1. Ask for help

2. Enjoy the ride and let it take time.

3. Resist minimalism

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1. Grow at your own pace, every mistake is a redirection.

2. Give your full attention to your work as you create it.

3. Make space for your own perspective.

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1. Never settle into complacency.

2. Approach everything with an open mind - stay endlessly curious!

3. Be patient, have fun, and enjoy the process.

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1. Always enjoy the process as much as the final piece.

2. Never be scared to experiment and try something new.

• 3. Stay true to yourself, always.

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Hi Sierra! I think you touch on very important points for the “BLACK NOW!” exhibit. Activism through art is something that has become more prevalent and powerful, especially during current times where rights have been violated, like you mentioned. In your paper, you can definitely explore the tension between black being seen as a color versus an identity and go into the rich history of the implications of both. There is a lot to write about in how society perceives the color versus black people as well as rejecting or reclaiming that narrative. Looking forward to see what you write!

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1. Be proud of your work every step of the way, even if you think it is terrible.

2. Soak in the compliments

3. Don’t make art serious and sterile

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Make terrible art

Never commit to a single discipline

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1. Don't fail. Rather, don't consider mistakes failures. Adjust, adapt, and don't give up.

2. Have no fear. Experiment! Try a new medium, subject, or style and don't fear it.

3. Be unexpected. Create something out of the box.

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For my visit, I went to the Faye G. And James Stone Gallery for the temporary exhibit “Ni de Aquí, Ni de Allá” by Victor “Marka27” Quiñones. Varying sizes of "I.C.E Scream" Paletas were featured among the exhibition. This gallery originally caught my attention because the title is a phrase I've commonly heard as Mexican-American and feeling as though I am from "neither here nor there" since it is difficult to identify entirely with either culture. Marka27, however, turns this phrase into an affirmation and privilege. He wants to share how honored he feels to be able to experience and bridge both cultures through his artwork. This exhibition, specifically, highlights an injustice that affects both of the communities we are a part of. This injustice has come more into light with the current administration and it has been something that I have had to deal with in the context of my own neighborhood and seeing this exhibit has inspired me to think of ways I can use my own art as a statement (not just in writing). The piece in the photo I included was the most striking to me because of the material and size of the sculpture. As I observed it, I found myself deconstructing the sculpture and thinking through how Quinones would have put it together. Did he know he was going to have more than one gun? Where did he get them? Are the bullets aligned in a certain way or are they random? Did he make a mold or buy a pre-made one? The juxtaposition of the Paleta theme with the cruelty immigrants face is made very prominent with this piece. Usually, we associate bright colors and popsicles with summer and blissfulness, but when it is intertwined with violence it strikes the viewer. For my paper, I want to explore the theme of connection instead of displacement when identifying with two cultures as well as using artwork to address injustice especially with the latin American context and exploitation of immigrants. I am currently thinking about including a piece in the MFA that is a tapestry depicting the exploitation of Amazon workers and another piece from the Latin American Museum back at home that addresses labor workers in hazardous conditions especially in factories, in addition to Marka27's work.

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Research Guides & Indexes: Zines and Self-Published Materials: Digital Zine Collections

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A zines resource guide created for Archives Month 2023

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I am in charge of writing the artist statement and letting my teammates help me with peer reviewing it.

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Met and discussed idea for photo. Below is a really quick thumbnail sketch to understand how we want the lights to blend into each other. I began to look into how to code the LEDs.

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This is a rough sketch/outline of what we want our photo to look like. We plan to use LED lights to create the environment of a sun setting on water. We're also going to use a small row boat model and clouds made from cotton balls that we'll hang to complete the photo. My role is to make the row boat - I plan to just hand build it (won't fire since only the silhouette is needed) and maybe add an oar (or perhaps turn it into a sailboat). I plan to make it relatively small, since we want to create the illusion of a tranquil scene from a distance.

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My role is to prepare the concept art of what we are hoping to accomplish and ensure consistency among the photographs. I will also supply necessary materials and advice in regards to outfits that will stick out more as sillouhettes.

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Our plan for the light project is to have a boat reflected on water in the sunset. My primary role for the light project is to make clouds hanging above the boat. We can then use the clouds to play with shade in different parts of the composition and experiment with how they're reflected in the water. I plan to make the clouds by gluing cotton balls together and attaching them to strings. This way, we an adjust the size of the clouds to keep them proportional to the boat, and be able to adjust where they hang based off the angle of the light.

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Karplus’s exhibit was especially intriguing to me because, amongst all the other elaborate art, his photographs stood out as simple and almost plain. However, when taking a closer look, you can see the skillful composition of each image and get a sense of the time at which the image was taken. Every single one of his photographs feels like a time capsule of a specific moment. He likes to take candid pictures, which adds to the natural feeling of each piece. He was also extremely well-traveled, so the diversity within his photos is incredible. Each photo was given a description of the location and the time period in which it was taken. While the photos look so historic, there is also a feeling of familiarity within them, which drew me in even more. Over the summer, I had the chance to travel around Europe, and the images really felt like I was back there. He captures the mundane moments you don’t necessarily notice, but that build the scene. His art stood out to me as well because while the photos were scenic and candid, they were still clearly human-focused. He looked at how individuals were interacting with the world around them. I want to focus on the humanity in history shown through his photos because I am intrigued by the way context and history affect the art created, and I have never looked at its significance in photography before.

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Hi Aidan!

I think that relating the concept of propaganda with what is actually a person's reality and truth is an interesting point for your paper. The artwork you chose to analyse seems to have the concept of propaganda hidden in plain sight, I would never thought of it in that context if i had just casually walked past it. I appreciate that you went into depth with the details in the artwork, mainly the salvation workers. This small detail could make a viewer take a step back due to the new tension that has taken place in the artwork's scene. The first thing i thought when i saw the artworks you chose was how playful and cheerful the style of art seems, maybe this could lead to you investigating how some propaganda is/was targeted towards children, changing their perception of the world. I also really like how you noticed the flowers hidden within the artwork, almost like a hint of a peace offering or a sort of glimmer of hope. I'd also be really curious of which artists inspired Stettheimer since this seems like such a unique twist to politically inspired art. I looked a bit into your chosen artist and many of her paintings seem to have ideas of time and memory based on Henri Bergson's philosophy blending into historical Art like Rococo/Renaissance aesthetics. Good luck on your paper!

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For this assignment, I went to The Rose Art Museum at Brandeis. I chose to focus on an artist named Fred Wilson as his pieces crossed different mediums and had varying levels of meaning and symbolism. The one that I thought was most thought provoking was called BLACK NOW! from 2025. The installation contained different found objects that Wilson had been collecting since 2005, with all of them feeling like there is a particular kind of relevance in the current political environment. This particular installation was inside the wing of the museum and took up about half of the space, covering parts of the ceiling, walls, and displays. Wilson was invited to be the US representative for the 50th Venice Biennale, and his pieces force the viewer to reconcile with the role of black people in history and present day. The piece included different items that contained the word "black" as well as a link to a podcast with the same name as the installation. We're in a very specific period of time where so many rights are being stripped; this piece has the viewer pause to think about how black people have been exhibited or presented over the years. The piece begs the viewer to consider black not only as a color but as an identity and lens that covers the race, symbolism, and changing identities. Incorporations of maybe what we might associate with as a stereotype of black art in that we see the suffering and pain but also the beauty, pride, and joy that comes with being black.

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Hi Allyson! I think diving into the historical side of the painting and possibly connecting it to other paintings during that time is a great idea! Using art as a form of activism is quite cool and it will be super interesting to see what you can find out when it comes to historical moments. I think this form of activism is also quite important today with the polarization we have in the world so it will be super interesting to see what you can find about how it has changed over the years. The piece you chose to focus on is visual experience and I'm glad you picked it for this paper. There is a lot going on in the painting yet the message is still clear. I'm excited to see how your paper goes!

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Hi Matt! I think you have a great start on your paper so far. You use a lot of imagery in your writing which is really effective for an assignment like this one, because your reader feels like they're seeing the artwork alongside you. I appreciate that you went into depth about Jeffers artistic process and what the work means to him as the artist, rather than just sharing your own perception of his work. As you keep working, it could be cool to tie in sources from relevant philosophers on mortality and grief. I'd also be curious what artists may have inspired Jeffers because his work seems pretty unique. The aspect of ruining the piece in front of the crowd's eyes reminds me of Banksy. Good luck with the rest of your paper!

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Hi Kally! This series of photos is very interesting - at first I wasn't sure exactly what I was looking at, but after looking a bit more closely and reading your post, it became much clearer. My first thought was also about the angle and whether the cars were moving or not, since it definitely looks like a highway. The homogeneity of the background and vibrancy of the trucks really makes the viewer focus in on the bed of trucks. Like you said, the people seen in each truck seem to tell different stories, yet the similarities of every other compositional feature of these photos make you wonder about the bigger picture these photos are addressing. I thought the title "Carpoolers" was very fitting, but at the same time seems almost playful compared to the complex and grave issues it explores. I'm also planning to write/research about the historical context of my painting and the social inequalities it grapples with. Both of our pieces were created to address a larger problem and they show how powerful art can be for examining social issues. I think your idea to compare Cartagena to an American artist is a great idea for your paper and I'm interested to see what you find!

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Hi Sierra,

The pictures that you included of filling your car up with sticks reminds me of my process and how silly I felt during it. Yet, it seems like you gain an attachment or relationship to the sticks/leaves/whatever you collect by the end of the project simply because you spend so much time with it. It definitely feels like you engaged the "response" portion that Goldsworthy comments on

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Over fall break my friends and I visited Quebec City in Canada. There were a lot of modern art galleries to choose from, but I decided on Exmuro because of their focus on displaying public art that speaks to the current political climate. Isaac Cordal’s installation artwork, Follow The Leaders, critiques modern society’s indifference toward capitalism’s excesses. The work features tiny suited figures sinking into rubble, symbolizing the helplessness of bureaucrats and the complacency of the public amid societal decay. The bleak, gray landscape addresses capitalism’s contribution to environmental collapse. The installation exposes political inaction and collective apathy, urging viewers to confront the need for social and environmental awakening.

The longer I looked at the piece the more I noticed expressive details that contribute to the underlying feeling of horror the artwork brings up. What struck me most about the work was the anonymity of the nameless figures. The uniformity of their appearance makes them seem like an army of doomed workers. The small street lights scattered throughout the landscape put all the action in stark light. One of the key details I want to mention in my paper is that there’s an inherent motion of bending over built into the format of this installation. In order to see anything happening amidst the rubble, the viewer has to occupy a hunched position that mirrors the posture of the men in suits. In my paper, I also want to connect this artwork to broader artistic social movements that are emerging right now. Many contemporary artists are using public and participatory art to challenge systems of power, call attention to climate anxiety, and encourage civic engagement. By placing Cordal’s work within this larger context, I hope to explore how artists today are transforming visual spaces into platforms for political reflection and collective awareness.

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Located in Harvard’s Art Museum’s on the second floor of the European ExhIbition, I stumbled upon this extraordinary image. I was drawn in by the bright and scratchy red that was slightly elevated from the oil paints texture. At first, it was the color that caught my attention, but it was the subject of that red that kept me there. The terrored, saddened and shocked expression of the man whose beheaded head now floated to the right of the canvas was off putting and intense. The pale, supple hand that raised left to the man guided my eyes to a woman, half exposed and draped in luxury and jewels standing powerfully and impatiently. Her expression was spiteful and coated in vengeance and satisfaction. Her hands, graceful and intimidatingly beckoning the head to an elevated position.

Paper Outline:

Located in Harvard's Art Museum’s, a quick trip to the second floor lead me to the European Exhibition. There I was met with a relatively small canvas depicting The Apparition framed in an intricate golden frame. This piece was a delicate depiction of grotesque human desire hidden within a beautiful frame of human fragility. I wanted to highlight the use and lack of use of certain artistic elements that successfully bring life and emotion to the piece.

This piece was made by painter Gustavo Moreau in France some time around the late 1870s. This piece was one of many biblical depictions found among the four walls of the exhibition room. Ranging in size, this pieces vibrant use of color stood out to me and was an intense depiction of the cruel beheading of John the Baptist. I was able to spend time with the figures in the piece and look at their expressions. In my attempt to gauge what each subject was thinking; from my first impression of John the Baptist, his expression shows the despair and solemn emotion he might have felt leading up to his beheading. It’s hard to distinguish if he remains conscious and staring at the woman or if it a frozen in time expression. The woman, Salome, staring in defiance, satisfaction and vengeance. Her image is conflicting with the supple nature of her pale hands and their graceful movements, almost calling back to the stealth that the large cat at her feet may use when hunting. She is lavished in jewels and fine fabrics that frames her in a powerful stance. These elements made the piece identifiable, since I had already heard of this story before, I hadn’t seen one to depict Salome in a beckoning fashion.

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During fall break, I visited the Met alone and was captivated by Florine Stettheimer’s New York Stock Exchange and Subtreasury. The painting blends political power and financial wealth, featuring FDR, Rockefeller, Baruch, and Morgan beneath a grand, imagined Stock Exchange facade. What struck me was how Stettheimer inserts herself into the scene, offering flowers to a gilded George Washington. The presence of Salvation Army workers adds a moral counterpoint, hinting at the tension between rich and poor. It felt like a playful commentary on power, money, and presence, and a reminder that details can quietly disrupt the ideal world that is shown. Made me thunk of propaganda and the relation between reality and truth.

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I went to my friends backyard and took a dead vine from the back fence.

The vine had some leaves on it towards the bottom of the vine

the top of the vine was bare and so i went around and grabbed leaves from all around

I then came back and tied the leaves one at a time onto the vine.

In the video you can see that the colors progress from red dead leaves to green live leaves.

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The work I chose was Icarus 2- Flight, by Andrae Green. It was made in 2025, and it uses oil, aluminum, and acrylic on a 92x128 canvas. I think it’s interesting how he uses mythology in this piece. The tale of Icarus is usually used as a warning for overconfidence; Icarus flies to close to the sun and he falls to his death. However, he transforms the imagery; instead of falling, the figure is rising. The other half of the canvas contrasts with the more mythological half, with cranes and aluminum. In between the two halves, a hand reaches out to touch the crane, echoing Michelangelo’s Creation of Adam, serving as a bridge between the technology and myth. Another important aspect of his art is his background as a Jamaican artist. He states that using aluminum reflects Jamaica’s economic struggles, which has greatly impacted his life. I think it’s interesting how he took this difficult experience and reimagined it as a change for growth and hope. I would be interested in exploring the more philosophical aspect that his artwork engages in.

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Beginning writing and brainstorming for essay

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Dipped Paintings_ An Essay on Memories and Loss

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Observation and Summarizing Notes

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"Dip Performance No 21, 2025" By Oliver Jeffers

21.25 x 25.25 inches

Oil on canvas in antique frame dipped in enamel paint

Praise Shadows Art Gallery

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During fall break, my mom and I visited the MoMA in New York City. The MoMA is huge and has countless ongoing exhibitions, many of which were very interesting and engaging. At first, I had a hard time deciding which exhibition I was going to focus on for my paper because of the overwhelming amount of art. After walking around for a while, I found an exhibition named "The Divided States of America." I was immediately drawn to this gallery because of its relevance to our world today and the evocative artworks on display. The exhibition explores a period of social divisions, mass protests, and calls for revolutionary change in the U.S. during the 1960s and 1970s through the activism of artists. The gallery included a diverse range of mediums - there were several paintings, collages, and series of photographs, as well as a metal sculpture and a massive piece made of cloth. The first piece that caught my eye was Faith Ringgold's ‘’The American People Series #20: Die." The painting is huge and almost mural-like - it is also extremely disturbing yet enticing at the same time. For my paper, I plan to dive into the historical context of the painting as well as Faith Ringgold's perspective/philosophy. I want to explore the ways in which this painting interacts with other artwork produced during this period of social division, and relate it to the polarization of our society today. I find artistic activism very interesting and I want to learn more about the power behind creating social change through art and its impact on revolutionary movements.

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American People Series #20: Die

Faith Ringgold

1967

72 × 144" (182.9 × 365.8 cm)

Oil on canvas, two panels

MoMA Floor 4, 415

Collections 1950s-1970s, The David Geffen Galleries