• I am comfortable with using clay, wire, cardboard, gouache, acrylic and inks!

• I think as far as strengths I have a good grasp on sketching and being able to capture references very well. I think where I would love to grow is being able to materialize ideas without needing to depend on references as much.

• I love work made by Basquiat and Kathleen Ryan!

2) I’m pretty comfortable with paint, screen printing, ink, pencil/pens, wood as a canvas, most things in the hatchery in general. I’m curious about stone carving, wood as an art (not just a background), and metal working.

3) I really like experimenting and can pivot pretty well if projects aren’t working the way I anticipated, an area of growth might be educating myself or rooting my work more in history/past art and artists at times instead of always just creating

4) i like Jenny Seville and Caravaggio

I am taking this class because I took art in high school just to try it and found I really liked it. I don't have much experience but took AP art my senior year and was very passionate about it. I want to expand my abilities and challenge myself.

I am comfortable with basic drawing using pencil and acrylic paint. I've used digital art and am relatively comfortable with it. I am curious about painting using oil paints or sculpting.

My strengths are drawing using a reference and shading. While I can come up with ideas I sometimes struggle to execute them so I would like to grow in my creativity and ability to create.

My favorite artist is Aya Takano.

Balog, James, Bridge glacier. British Columbia, Canada: 2017

Aiden & Irene

Sierra & Magali

Allyson & Kally

Maya & Michelle

Cam & Catherine & Chloe

Gumpert, Lynn, and Pepe Karmel. New York Cool: Painting and sculpture from the NYU Art Collection. New York, N.Y: Grey Art Gallery, New York University, 2008.

48 x 84 in. (121.9 x 213.36 cm)

Oil and acrylic on aluminium and canvas

The installation site was at the Boston Centre for the Arts

For my paper, I want to dive deeper into this series that Cartagena has made and learn more about the inequalities and issues that are in the area he is focusing on (San Pedro Garza, Mexico). I am planning on learning more about Cartagena and what drew him to take photographs of these trucks on the highway in the first place. Learning about the historical background of his photos is of great interest to me and is something I hope I can uncover as I research more about him and his work. I also wonder if I could try and find a similar American artist to connect and compare this piece too, because I think in some areas of America this theme of sleeping in your car and dangerous working conditions can be found, but only in specific areas, so I think it would be an interesting comparison.

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

21.25 x 25.25 inches

Oil on canvas in antique frame dipped in enamel paint

Praise Shadows Art Gallery

• 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.

  
  

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. 

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.

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

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!

Never commit to a single discipline

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.

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

2. Details should enhance rather than carry the piece.

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. 

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.