Saturday, October 30, 2010
Thursday, October 28, 2010
Saturday, October 23, 2010
- Rachael Browning
- Keith Jentzsch
- Martin Mayer
- Elizabeth Morisette
- Amy Reckley
- Frank Stanley
- Sarah Vaeth
In addition, Michael designed the badges currently being displayed on our Facebook page and on the Twitter account associated with this project.
Contact Michael at: email@example.com
ARTiculation intends over the next month to introduce you to the artists invited to the exhibit allowing the audience to approach the work with new insight into a variety of individual artistic processes. Comments and questions are highly encouraged in hopes of engaging our audience in discourse related to the evolution of sculpture.
Thursday, October 21, 2010
Wednesday, October 20, 2010
I don't have to tell you that it's a tough job market out there. The economy has been rough for everyone and museums, archives, libraries, and many other art and collection based jobs have been put through the wringer when it comes to budget cuts, layoffs, program cuts, etcetera. If you're starting in the curiosity phase of pursuing a job and education in a libraries, archives, or special collections field it is good to be realistic when looking at what the job market looks like now, and in the future. I have high hopes, history, and some factual based projection that the economy will continue to grow back, and the profession will continue to grow as it has been since its inception. In fact, when looking at the Bureau of Labor Statistics 2010-2011 edition for Archivists, Curators and Museum Technicians, you'll see the profession is projected to grow a faster than average 20% by 2018. The statistics for Librarians are also expected to grow at least 8% and job competition to be favorable to potential employees as many librarians retire in the coming years.
This post aims to educate and help provide you vital references no matter what phase of the profession you are in.
Would you like a job at the Smithsonian? All Smithsonian jobs go through the USAjobs.gov website, where you will also find library, archives, and special collection jobs with the National Park Service, the Army, the National Archives, the Library of Congress and many other federal institutions.
See their site for more information! Excellent resources:
Tuesday, October 12, 2010
The site specific exhibition of Object, No Object will be at the Fort Collins Museum of Contemporary Art www.fcmoca.org
Stay tuned for information on invited artists!
Please read some of the posts here and share your thoughts regarding your studio practice as a sculptor and what you think is important in the field at this time. We have been hearing from some folks internationally as well as nationally...let us know what is happening in your part of the world and what part of the world it is!
Monday, October 11, 2010
"I bought something from the website (total with shipping $3.55 USD) - and the payee on the account was andraz begus, who I googled of course. He is indeed an unknown Slovenian artist. So this would require Hirst to do a rather elaborate double agent type of impersonation. I just don't think he would bother with that merely to chat with the hoi polloi. He would have to be shockingly bored with his life of untold wealth and would have to be vastly different from the person he seems to be to go to those lengths... IMHO. And I think this guy has done a pretty good job of appearing like Hirst's less evil twin...."
"did a little digging on the @hirstdamien Twitter account and found out it is being maintained by Andraz Begus, who is indeed from Slovenia."
Sunday, October 10, 2010
Lucy Lippard and John Chandler write the essay The Dematerialization of the Art, published in
the February 1968 issue of Art International.
An excerpt: “During the 1960’s the anti-intellectual, emotional intuitive processes of art-making characteristic of the last two decades have begun to give way to an ultra-conceptual art that emphasizes the thinking process almost exclusively. As more and more work is designed in the studio, but executed elsewhere by professional craftsmen, as the object becomes merely the end product, a number of artists are losing interest in the physical evolution of the work of art. The studio is again becoming a study. Such a trend appears to be provoking a profound dematerialization of art, especially art as object, and if it continues to prevail, it may result in the object’s becoming wholly obsolete.
The visual arts at the moment seem to hover at a crossroad that may well turn out to be two roads to one place, though they appear to have come from two sources: art as idea and art as action. In the first case, matter is denied, as sensation has been converted into concept; in the second case, matter has been transformed into energy and time-motion.”
Saturday, October 9, 2010
Your feedback is extremely helpful and enables us to learn about how to best maximize our digital footprint.
This is also why there is another part to the title of our exhibit "Sculpture of Ideas." It is our attempt to engage in an emerging conversation of what drives interest, audience and the artist. Which is more important the product (object) or the recognition of the process (non-object)? This very question, I believe, is the crux of where the current debate sits among artists, critics and academics alike. I also believe as curators it is our sole responsibility to present the discourse, not only in a visually stimulating manner, but also without bias.
The delegation of duties and basic logistics, such as the space, were eventually hammered out. However because of the difficulty we are having trouble articulating our curatorial perimeters given the nature of how we are tackling this debate (which is in an exhibit) ; the statement, artist call and invitations will eventually develop once we all have had a chance to meditate on the various ways to approach this topic.
We are not only curating concurrent on-line and site/time specific exhibits but also hopefully facilitating a public dialogue about the very nature of contemporary art, it's direction, and the commentary it makes on a digitally enhanced, hyper-modern society.
Wednesday, October 6, 2010