sooooo busy post will come tommrow

to whom it may concern....

these past 2 weeks have been hecktic with 2 exams last week and one tommrow and 2 crits with hanna and julie that happend today... i will not be posting the homework till tommrow but it will get done... everything has been good, my exams last week got a's and hanna and julie did alot to help me into a multitude of work. gotta study post tommrow sorry.

whops, last weeks gallery visit

tonight i went to chelsea and the Whitney.

nothing in chelsea that we saw was really really note worthy, somethings i already saw and then others were somewhat not my style, and i didnt think they were that great, alot of minimalist ideas, i forgot my list from julie and hannalina so that will be next weeks post....

anyway, at the whitney, we saw georgia O'Keeffe. i really enjoyed the use of her colors, they were so extreme but created sutch depth and dynamic abstraction. there were a ton of paintings and only some of them really cought my eye, its really unbeliveable how many things you can look over becasue one painting is so striking. it was very crowed, a friday night when you way whatever for enterence, it was just hard to stay in one spot and really enjoy a painting but there were times where one would really hold your eye and you could see the different hues, tones, saturation, and balance. it was almost musical the way they flowed together so well but the way it bounced back and forth. her flower paitings i thought were incrediable, i just really enjoyed her use of color. but more the abstract landscapes really held me in place, i just throughly enjoyed staring into these feilds of color and abstration. the landscape ones made less sence to me, but i enjoyed them more becuase i didnt already have a preexisting veiw of "flowers"

anyways i would really like to see what the painting class list has in store...

Chapter 6, the Studio visit

the studio visit was to marakami's studio workshop in japan

1. The status of creativity is much lower here, the art market is weak

its strange to think that someone so huge here isnt as big in his home country

2. What is the dealers role in the studio? ... Dealers are editors and conspirators. We help determine what gets shown and how it gets shown, and we help put art in production. At the end of the day, our business is to sell symptoms articulated as objects.

i like the idea that the artist donst have to think completly about what hes doing everytime in the long run certin peice will stand out, its about making things over lingering on one concept

3. I'm thinking alot about how to connect with people who are under 30 in japan. I have to cumminicate with a video game feeling- marakami

he has his target market, where do we come up with this, am i to write about things like this?

4. This peice had the grudge of those sculptors" marakami he talks about how rigerious his plan is, how they make small sketches of it,

this kind of thing remined me of chully the glass blower that he really dosnt do his own stuff, but its his design, we talked about designers not really being artists, and also talking about how everyone contradicts everyone.

5. MarakamiIs talks about his workfor louis vuitton his "Honest and completly canny relationship to commercial culture industries" says its "My urinal"

he makes millions on his shitter? is this for real? hahaha i find that crazy, but they also talked about how imprortant his branding ideas and way to connect with the millions of people, i bet no one who buys that really knows what he says about it... crazy

Chapter 2, "the Crit"

this has been the first time ive read this book, since i got it yesterday afternoon via FedEX. it has been more than insightfull, ive read all the previous chapters, but these are some of the most interisting points that ive stumbled across.

1. talking about the staff and educating the wrist down & and wrist up(the intullectual side) one cal arts faculty says, "we all contradict each other, but the prevailing beilief is that any artist whose work fails to display some conceptual rigor is little more than a pretender, illustrator, or designer"

This was particually inportant to me because i feel that ive just really stated to venture into finding deeper meaning and deeper thought into my work. instead of doing tons of work, ive just been pondering, thinking and putting things together in my mind that dont make any sence. and its almost daily that people contridict eachother, one see onething the other sees the oppisete, what do you run off ov.

2. "Creative is definitely a dirty word...it's almost as embarrassing as beautiful or sublime or masterpiece."

I don't really think that words truly can describe a picture and to place them into categories is a matter of context.

3. when describing a group cirt, "They are social occasions that reinforce the norm. they impose a standardized discourse. they privilege unfinished, incompetent ar. if your not sick, dont call the doc." further..."I dont care about an artist's intentions. i care if the work looks like it might have some consequences." Dave Hickey

This statement was even more impacting today when we had a crit, talking about everyones artworks. you know if your art is ready to be presented into a group or gallery, to sit thought things is kinda reductive, talking with other artists in non formal situations is more realizing. ive only been to one single group cirt about a large body of painting that was done self directed, i got nothing more out of it than i already knew about my painting. you know your art, its there to make an impact(consequences)

4."Talent is a double-edged sword. What you are given is not really yours. What you work at, what you struggle for, what you have to take command of-- that often makes for very good art."

insperiating is the one side? and what you take from everything and what you find passion in is a merge of talent. everything has more meaning when its done with passion and insperation, and to find restarint and clairty, thats where you really take command.

5. A crit this long....

i mean after a while it must open up to some pretty wild shit, something there in the begining was nothing but then has a powerful balance after taking it in for so long. i think a crit this long would really actually give me some more passion and open up for some serious discussion, given that it was a body of work that was truly thought out and done rite.

These are some more of my paintings from last year. Also there are two drawings from figure drawing class. I also still have been doing ceramics, this is from a raku firing we did at the end of september.

my interview with Andrew Schweighardt

these are some design peice that i really liked. the design of this speaker is very cool, with representations of exaggerated musicians. this is one thing that we covered, his very free hand in design. i also took well to this very classic modern back cover of a bands cd. the use of photography and design. his works are very calming and fun.

Q: When did art really bloom for you, and what inspires you to be an artist? as a student in design, its good to see that you are a learned artist,

understanding one aspect of art allows you to enter another in my mind...When did you start really working in design, and why?

A: Art, or rather “the impulse to create” as I like to call it, began for me when I was young. I would draw, doodle, construct, and attempt to build my own tree fort at the age of 7. I very much enjoy the zone I find myself in as I become immersed in a project. All track of time is lost when I let my intuition be my designing guide. As for inspiration, I tap into nature, reality, dreams, forms, shapes, clever saying, witty humor, pretty much anything that makes me take a second look. When I take a second look I then think to myself what compelled me to do so. I find this to be an important aspect of what I do.

Q: Your Fine arts run from very graphic, to life like, to abstraction...is this style of hand made works repeated into the way you work with graphic design, or does it all come from the computer? What artists/ works motivate you most? What is it about their work that you identify with and how does this translate into your own work?

A: My graphic design aesthetic can be catered. It can be abstract, it can be modern, it can be Art Nuevo. I believe that a lot of people get hung up on the fact that graphic design does not simply mean doing work on the computer. Graphic design is design that manifests itself graphically. Whether it is a photograph with typographic elements, hand-cut lettering scanned onto a computer, photomontage, etc. I consider this all to be graphic design.

I am inspired by work by El Lissitzky, Saul Bass, Kadinsky, Moholy-Nagy, and Will Burtin to name a few. I am interested in Constructivism and the Bauhaus legacy of design.
I identify with the Constructivist for their anal-retentive aesthetic. I like my designs to generally be clean, efficient, but subtly playful and humorous. I like shape, dynamic perspectives and extreme contrast.

Q: do you mind sharing any ideas you find floating around about your thesis you would like to share? & As a graphic designer will you be sending us a message with your work?

A: My thesis will be concerned with information design. I never considered myself very good with mathematics or various units of measurements, so my idea is to explore the graphic representation of units of measurements or quantification in a compelling and informative manner.

Q: Where do you find yourself in ten years, Any major Changes?

A: Hell, I don’t even know where I’ll find myself tomorrow.

Andrew's Qs towards me

1. Discussion regarding the tangible aspects of Matt’s work:

From the pieces of work I got to take a look at, it is obvious that you do not limit yourself to a single medium. I’ve observed oil paintings, acrylic paintings, sculptures with glass and some other material I cannot determine, graphite/ charcoal illustrations, etc.

a. When and how did you realize that art was something you wanted to pursue?

When I was very young, I started drawing before I could write at like 2 because my grandfather had done some artwork, mainly drawing. But I’ve always gravitated towards it I’m enthralled by almost all aspects of art. Those are ceramic vases, which are now glazed. I also oil paint, do the glass blowing, and draw; I don’t work in acrylics yet? But art has always stood out to me, it was differently intense in a way that excites me; math was a process with a single answer, spelling was bullshit, and gym was to much fun for monsters; I was always too outgoing and creative to want to stop finding new ways of doing things.

2. Discussion regarding the materials, forms and subjects:

a. Tell me more about the glass vase. I am fascinated with the process of blowing glass into shapes and the forms.

Glassblowing is very intense. It’s a process, sometimes you find in ceramics or an under painting and sketches in a notebook. Everything must start right to finish different, its one of those arts that can be unpredictable. Speed is its game, its so unlike every other art where your not bound by time or physical pain. Science, math, and art converge in this experience; I feel my ideas differ somewhat in other mediums. But aspects of art always over lap one another.

3. Discussion regarding themes in the work:

a. Your work has an organic aesthetic, is this a theme you consciously incorporate into your work?

Umm, nature happens I think. I just recently started noticing this as I started to see my artwork converge in photo albums on the computer; on the contrary, yes I am aware of it when I’m working with either clay of glass the two mediums have so much to do with nature, science, motion, creativity, and impulses; when the wheels move there’s no turning back. With my painting and drawings I find the nature just happens it is such a passionate experience and so connected to the hand of the creator, I find it happening. But there is also a refining quality where you know what your doing, everything has a reason, and I find some of my paintings I enjoyed thinking of as human experience landscapes. So nature is bound by no limits, effects just generate new life and kill old ones.

4. Discussion regarding influences, artists, writers, movies, etc:

a. What artists/ works motivate you most? What is it about their work that you identify with and how does this translate into your own work?

This list can go on f o r e v e r . Every aspect of what I do I try to respond to someone that has pushed me in a direction at the moment, but I like to keep my beliefs to specific artists.

5. Plans regarding the development of thesis proposal:

a. What ideas/ goals do you have in mind while beginning to formulate your thesis proposal?

Maybe to get noticed, to be able to build from a portfolio and jump into real world situations. Most defiantly to understand what it takes to make it, and the magnitude and minute experience we endeavor towards. Of coarse every artists dream is to support their family with a creative career, nothing more nothing less.

b. Do you think you will be using more than one medium for your thesis?

I have no idea things move so fast and there’s so much going on I don’t even know what I’m going to be doing tomorrow.

c. If you could use one or two words to summarize your over-arching thesis proposal, what would it/ they be?

If I can sum up my over arching thesis proposal in two words… let it roll.

6. Developing work over the next couple next years:

a. Do you think you will make any radical changes in your work in the next couple years?

b. If so, what direction/ area are you most interested in learning more about?

Yea, I’m sure funding will be cut dramatically, but I’ve always been good with kids and I think I can find some alternate route program I can bang out in a few semesters and pull off being a miserable teacher in some shithole elementary school. But that wont stop me from drawing and ect., I’m too passionate about it to leave it behind, I don’t watch the television so I always find ways to be creative.