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https://kevinkowalskiart.square.site

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https://isaih.xyz

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The summer going into this year and the first Trimester of this class, I worked to try and excel at what I was comfortable with. Throwing big, thin, smooth vessels. I experimented with big elegant curves and handles, as well as tried many new glazes and combinations. This neigh was my place of comfort and my place of fascination. My work became subtly redundant, not bad, just there were so many other ways to experiment with ceramic and I was not broadening my horizons. Sectionals and big vessels are certainly the most apparent pattern in my work.

Second Try was a period of experimentation. With smaller pieces, different kinds of clay, some slab work, and shapes I had never attempted. I let my imagination run free and oftentimes The product was an insult to the idea, but the exercise of expanding my artistic grip was there.

This tri, my last tri, I will be reverting to throwing big stuff. What I am best at. I take inspiration from many different instagram ceramicists. I admire their creativity in throwing large vessels with not sections. All one piece and of even thickness. There (I will link them below) ability to be creative and not let thrown big get repetitive is admirable and the product shows it.

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https://docs.google.com/document/d/1E00b2X1lJmlQY3zBZyG2_UJv1X7h802palmfYU9PLoI/edit

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Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

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first try of taking a picture to go off of - charcoal drawing

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inspired by how it is a portrait three ways of him and another based on what he is surrounded with - important items that matter on the easel and the mirror

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Possibly a series of fashion photography and painting-- collage-like some painted some not 

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Possibly a series of fashion photography and painting-- collage-like some painted some not 

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Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

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I just noticed (not sure how I hadn't really noticed before...) how often I paint/draw crumpled paper and fabric. See images.

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Marcel Duchamp
(1887, France - 1968, France)

Marcel Duchamp bought a urinal ,signed it "Richard Mutt" dubbed it the "Fontaine" and presented it as a work of art.
He then sent it to a New York gallery, where it was rejected. The jury was not yet prepared to admit this provocative artwork. Duchamp called it "ready-made" : elevating an industrial object to "work of art" status, simply because the artist chose it. This simple act conferred a new viewpoint for the artistic abject. What is the artist's role ? How do you define "work of art" in the age of film, photography, and industry ? Does it still have to be beautiful, unique ?Hand-made ? Non-reproducible ? Raising such questions did not always lead to answers, but did completely shake up 20th century art.

Inscriptions

S.D.B.G. : R. MUTT / 1917
S.D.R. : [sous l'urinoir, de la main de l'artiste] Marcel Duchamp 1964
S.D.N.T.INDIC.R. : [sur une plaque en cuivre gravée, fixée sous l'urinoir :]
[de la main d'artiste] Marcel Duchamp 1964 / exemp. / Rrose
[inscription gravée] FOUNTAIN, 1917 / EDITION GALERIE SCHWARZ, MILAN

Inventory no.

AM 1986-295

L'histoire de l'urinoir de Marcel Duchamp tempère quelque peu l'idée (reçue) qui en fait l'objet le plus provocateur de l'histoire de l'art du xxe siècle, le symbole même de la subversion avant-gardiste. Fontaine (cat. rais. 1, n o345 d) n'était pas destinée à heurter le goût de Monsieur Prud'homme, mais à prendre à leur propre piège des artistes qui se voulaient libéraux et tolérants. En 1917, à New York, Duchamp est membre du comité de direction de l'exposition organisée par la Society of Independant Artists, dont les règles, en ce point distinctes de celles des Salons officiels, affirment qu'il est ouvert à tous, " sans prix ni jury ". C'est pour tester cette ouverture d'esprit autoproclamée que Duchamp, sous le pseudonyme de Richard Mutt, présente son urinoir au comité d'accrochage. L'objet, évidemment, suscite polémiques et controverses, puis finit par être relégué hors des espaces d'exposition du Salon. Alfred Stieglitz l'expose alors dans sa galerie 291, où il le photographie. L'épisode de l'urinoir se doit d'être rapproché d'un autre rejet dont fut victime Duchamp, lors du Salon des Indépendants de 1912, à Paris. À la demande de ses " amis " cubistes, il avait dû lui-même décrocher son Nu descendant un escalier no2, jugé hérétique par rapport à ce que ses pairs pensaient être la doxa cubiste. Qu'une censure puisse émaner d'artistes qui se disaient d'avant-garde avait ulcéré Duchamp. En 1917, il est maître du jeu. Il orchestre le scandale, assure la publicité à " sa " Fontaine , l'inscrit dans l'histoire de l'art, reproduit la photographie de Stieglitz dans le n o2 de sa revue The Blind Man (New York, mai 1917), y commente son aventure dans l'éditorial " The Richard Mutt Case ". Piégée par l'ironie duchampienne, l'histoire fait de Fontaine l'étendard de l'iconoclasme moderne.

Didier Ottinger

Source :
Collection art moderne - La collection du Centre Pompidou, Musée national d'art moderne, sous la direction de Brigitte Leal, Paris, Centre Pompidou, 2007

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Marcel Duchamp bought a urinal ,signed it "Richard Mutt" dubbed it the "Fontaine" and presented it as a…

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If you would like to reproduce an image of a work of art in MoMA's collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations).

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Yoko Ono. Painting for the Wind. 1961 | MoMA

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Yoko Ono. Painting for the Wind. 1961. Ink on paper. 9 7/8 × 14 1/8″ (25.1 × 35.9 cm). Gift of the Gilbert B. and Lila Silverman Instruction Drawing Collection, Detroit. 1527.2018. © 2023 Yoko Ono. Drawings and Prints

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loove his aesthetic all the shots and colors too good

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Andy Goldsworthy is an international artist, sculptor, photographer and environmentalist based in Scotland

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Use this time to reflect on your artwork from this year so far.  Attempt to gain insight about your own habits, patterns, and interests.Ask & respond in writing:With regards to creating visual art, what does success look like to you? What do you consider your most successful pieces: In my eyes successful pieces are ones that are interesting. Broad description but successful art exists across a broad spectrum. If it’s compelling, if it makes people genuinely interested, it is successful in some way. I find a disconnect sometimes between wanting to be interested in a piece of art (a movie, a gallery, etc) when in reality I would rather be somewhere else. The best ones are gripping, leave you wanting more. My most successful piece this year was probably my first one with the water (how to be an artist) or the alternative slime video. They were fun to watch. Where did your best ideas come from? What do you think about throughout your process?Usually by accident, coming across some strange mistake editing or shooting. My process works well, but I wouldn’t say my end products are at all a testament to the quality of the process. In an academic structure it is constrained by the prompts. What threads run through your work? What common themes, questions, colors, textures, forms, or other elements emerge? What do you notice you are drawn to?Larger themes, mostly trying to capture something visually compelling. Often comes through some lighting component or through movement. Water, overlays, etc. From this has stemmed a theme of things are hard to make out, or unintelligible. Probably influenced by middle school photography projects where we tried to photograph things and have people guess what they were. I like focusing on single individuals. The implication of psychic is always there. I’ve also been attracted to some absurdity in some of the projects, like the Pope/lebron one. Finally, identify your influences: What artists do you think about? Who do you like? Why? Include five artists who you feel connected to. Include images and/or links to their website, IG, articles, etc.A couple filmmakers come to mind: Bong Joon-Ho, Sean Baker, Barry Jenkins. Sean’s films are so real, so researched. Feel like they could be documentaries but with the artistic touch of a narrative film. Bong’s are sharp, precise and often have the ability to make a commentary while also being entertaining and fun to watch. Jenkins mostly just for Moonlight but also for if beale street could talk. Doesn’t try to hard. Sean Mendes’ 1917 in the way that it is so technically impressive. Sometimes being so strong in one area makes the piece interesting automatically. Carti because every album he releases is so vastly different from the last. Mainstream but true. Feel like a lot of successful artists try to capitalize on one niche that they’ve made popular enough to make money off of. 

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Use this time to reflect on your artwork from this year so far.  Attempt to gain insight about your own habits, patterns, and interests.Ask & respond in writing:With regards to creating visual art, what does success look like to you? What do you consider your most successful pieces: In my eyes successful pieces are ones that are interesting. Broad description but successful art exists across a broad spectrum. If it’s compelling, if it makes people genuinely interested, it is successful in some way. I find a disconnect sometimes between wanting to be interested in a piece of art (a movie, a gallery, etc) when in reality I would rather be somewhere else. The best ones are gripping, leave you wanting more. My most successful piece this year was probably my first one with the water (how to be an artist) or the alternative slime video. They were fun to watch. Where did your best ideas come from? What do you think about throughout your process?Usually by accident, coming across some strange mistake editing or shooting. My process works well, but I wouldn’t say my end products are at all a testament to the quality of the process. In an academic structure it is constrained by the prompts. What threads run through your work? What common themes, questions, colors, textures, forms, or other elements emerge? What do you notice you are drawn to?Larger themes, mostly trying to capture something visually compelling. Often comes through some lighting component or through movement. Water, overlays, etc. From this has stemmed a theme of things are hard to make out, or unintelligible. Probably influenced by middle school photography projects where we tried to photograph things and have people guess what they were. I like focusing on single individuals. The implication of psychic is always there. I’ve also been attracted to some absurdity in some of the projects, like the Pope/lebron one. Finally, identify your influences: What artists do you think about? Who do you like? Why? Include five artists who you feel connected to. Include images and/or links to their website, IG, articles, etc.A couple filmmakers come to mind: Bong Joon-Ho, Sean Baker, Barry Jenkins. Sean’s films are so real, so researched. Feel like they could be documentaries but with the artistic touch of a narrative film. Bong’s are sharp, precise and often have the ability to make a commentary while also being entertaining and fun to watch. Jenkins mostly just for Moonlight but also for if beale street could talk. Doesn’t try to hard. Sean Mendes’ 1917 in the way that it is so technically impressive. Sometimes being so strong in one area makes the piece interesting automatically. Carti because every album he releases is so vastly different from the last. Mainstream but true. Feel like a lot of successful artists try to capitalize on one niche that they’ve made popular enough to make money off of. 

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Not really a specific artist and more of a brand. Home decor, jewelry, accessories to living spaces-- specifically love their rugs and overall how animals and nature are so prominent in their work. Also grew up with most of their home decor so very influenced.