Chapter 6: The Studio Visit

"An artist is someone who understands the border between this world and that one or someone who makes an effort to know it."


"If there is a truth there, it's not just in the work but in how they work, how they act, who they are."


"A studio is supposed to be a site of intense contemplation."


"I change my direction or continue in the same direction by seeing people's reaction. My concentration is how to survive long-term and how to join with the contemporary feeling. To focus on nothing besides profit is, by my values, evil. But I work by trial and error to be popular"


"Being good in business is the most fascinating kind of art... making money is an art and working is art and good business is the best art."

Chapter 5: The Magazine

"Artforum is to art what Vogue is to fashion and Rolling Stone was to rock and roll."

"The one essential thing: it cannot follow the market. Nor should it try actively to influence the market. It has to have its own point of view. It has to be honest. After that, clarity of writing, purity of design."

"Art critics are just spectators who say what they think...Don't things live not just by direct experience of them but by rumor, discussion, argument, and fantasy?"

"...If you start supporting artist who don't deserve it on in a manner that seems like overkill, you will drive your readers away and undermine your own credibility...There's some art that we jut don't touch…I have no idea why it sells or why people care."

"Contributors don't necessarily like each other's style; some are divas who resist being edited. 'I have relationships with a lot of writers. At a certain point, one suffers that beleaguered feeling of agents dealing with stars."

"A critic is a detective. You look at all this and you just try to make it mean something... It's a matter of trying to create meaning in these things in the world around you and giving art a place where it can resonate."

GRAD SCHOOL...

Currently I have no desire to go to grad school. However, if I ever decided to pursue a master’s degree, I would obviously look at the more established/high ranked schools. I would also prefer to stay on the east coast.

Rhode Island School of Design
Providence, RI

School of Visual Arts
New York, NY

Pratt Institute
Brooklyn, NY

Yale University School of Art
New Haven, CT

Maryland Institute College of Art
Baltimore, MD

Chapter 3: The Fair

“The fair is significant from a prestige point of view. If a gallery is not admitted, people might think that it is not as important as another gallery that is. If a galley is refused next year, it could destroy their business.” p. 79

“When Art Basel first opened, in 1970, it looked like a flea market, with pictures stacked up against walls and dealers coming in with canvases rolled up under their arms. Nowadays the fair provides a respectable environment.” p. 82

“If you go after art and quality, the money will come later… We have to make the same decisions as the artists. Do they create art or art that sells well? With the galleries, it’s the same. Are they commercial or do they believe in something? We’re in a similar situation.” – Samuel Keller p. 82

“When you first start collecting, you’re intensely competitive, but eventually you learn two things. First, if an artist is only going to make one good work, then there is no sense in fighting over it. Second, a collection is a personal vision. No one can steal your vision.” – Don Rubell p. 82-83

“ ‘Collector’ should be an earned category. An artist doesn’t become an artist in a day, so a collector shouldn’t become a collector in a day. It’s a lifetime process.”
–Mera Rubell p. 83

“Fairs are less stressful than auctions. There is something about standing before the object you want and the person you’re going to buy it from. I can see the appeal of the real-time transaction.” –Amy Cappellazo p. 86

“When gallerists are confident about demand for an artist’s work, they wouldn’t dream of surrendering it to the first comer or the highes bidder. They compile a list of interested parties so they can place the work in the most prestigious home. It’s an essential part of managing the perception of their artists.” p.88

“I’m an atheist, but I believe in art.” p. 93

“An art fair is no place for an artist.” p. 94

“We don’t buy anything without looking at it in the flesh. What’s great about a work often doesn’t show up in a JPEG – plus I’m a condition freak.” –Sandy Heller p.102

INTERVIEW WITH ANGELA REYNOSO

JR: When did you first become interested in photography?

AR: I became interested in photography when I was in high school but once I enrolled to take the class the program collapsed, go figure uh! After that college revived my interest, but I always kept in touch with photography. My brothers had cameras of their own and I always played around with them, trying to be artistic and what not.

JR: What do you like most about it (photography)?

AR: I like everything about photography, from the darkroom to working with a computer. Photography opens doors to meet new people, but at the same time it may target you as to someone not to approach, it's funny. It is all learning experience, my camera keeps my life interesting, makes me see things in ways I would never have.

JR: How does it compare to other mediums that you have worked with? Why do you prefer it over other mediums?

AR: I guess photography can be compared with graphic design. I use many of my own photos to work on GD projects. Like I said before, I feel that photography hhmmm is more adventurous, it puts me out in the field to work with people that I am photographing, it makes me learn about them and their situations, this is why I prefer photo over other mediums.

JR: Do you prefer color or black and white photography? Why?

AR: Color or black and white photo?? Both! why? Well, it just depends on what I'm taking photos of and what feeling I want to convey. In my opinion, color photos are more contemporary and black and white photos has more of a classy feeling among other things.


JR: Do you prefer digital or film photography? why?

AR: Oh gosh! haha, see i have to say i like both digital and film photography but working with a digital camera is hhmm is much faster and maybe a bit more precise than film photography. Though, with film photo you can't wait to develop your film to check out your negatives and see how terrible or good you did! So, I guess digital photo loses that feeling of anticipation, those tiny butterflies in your stomach.

JR: What kind of camera do you use?

AR: Well, I have a Canon 40D. This is funny because all of my friends use Nikons and I always have to defend Canons!

JR: From you work, I get the sense that you enjoy shooting social documentaries. Why do you think you're drawn to taking these types of photos? And in a broader context, why do you feel it's important?

AR: Yeah, social doc. has always been my weak point. I always try to draw away from it and shoot new things but I always turn back to this type of photography. I just love it! I feel that there is so much to tell, to find out and research in this world but so many people just don't see this, or don't care about it and so I feel the need to communicate the different situations/cultures/feelings or whatever that is happening outsides our door through my photos, hhmm let's say I just want people to care more and to understand that there is much more out there than our puny little lives and our so called problems.

JR:How do you feel about photographer's who take photographs of nature or scenery?

AR: I appreciate it. Some nature photographers do some great work. I would like to drop some photographer names but.. I am terrible at remembering names so we are out of luck here.

JR: Do you feel that one type of photography is better or superior to another? Why or why not?

AR: Noooo...all photography is great in my eyes. See I like all types of photo because they all have different techniques/feeling and motives that I would love to learn, from fashion photography, social photo, nature photo and so on. I do social photography because I'm more attached to it somehow, but I don't think it's better. The only photos I don't really like are the hhmm myspace pictures hehehe..

JR: You are also majoring in Graphic Design. How do you feel it relates to photography?

AR: I am trying to major in graphic design but I think I'll be a class short! How terrible?! but hhmm, I like graphic design not as much as photography but I think they connect in various ways, like I said before I like to use my photos for GD projects. Also, I feel that photography along with GD makes me a more rounded artist.

JR: Do you consider yourself a photographer first?

AR: Definitely.

JR: Do you have a favorite body of work that you created while attending Mason Gross? Describe it briefly

AR: I have lots of them, they are like my babies, I really can't choose between them! haha. There is a project that I recently shot in Peru, I think this might be my favorite. I shot a cemetery that was built in the early 1800's...don't want to say much about it other than it might be awesome - in my eyes.

JR: What are your plans after you graduate?

AR: Oh man! this question makes me nervous. I really still don't know what I'm going to do after I graduate, maybe find a real job; whatever that means.

MFA SHOW

MFA GALLERY EXHIBITION

Generally speaking I was not too impressed with the MFA show here at Mason Gross. Overall, I think there was a lack of cohesiveness in the gallery space. Most of the time, when you visit a gallery there’s usually a sense of unity between various types of artwork, and I didn’t necessarily get that vibe here. It also didn’t help that some of the work was not labeled. Therefore, it becomes slightly difficult to reference some of the pieces without the actual title or artist name.

There were, however, some pieces that I found interesting; for example the first set of photographs by the entrance. I assume that this was part of a series by the same artist. I was perhaps most intrigued by the first image of a woman who was licking a cherry pie. Conceptually, I think this piece plays with female sexuality – the pie, perhaps representing female genitalia. I immediately associated this photograph with the movie American Pie, except that the roles here were somewhat reversed. The other set of photographs depicted a woman wearing an elaborate necklace made of cigarettes. I’m sure a lot of smokers could identify with this piece, in the sense that the habit can almost become a part of you and at times weigh you down. I also enjoyed Eileen Behnke paintings, particularly because of the vibrant use of colors. I think it’s interesting how she uses patches of color to build up the forms.

Some of the work that I wasn’t too fond of included the more abstract pieces. I just feel that scribbling or splattering paint on a canvas is somewhat overrated. The other piece, which was probably by the same artist, was simply black scribble on a sheet of graph paper. I’m sorry, but I don’t think that work was worthy of gallery space. For a second, I thought that maybe someone had just put it up there as a joke, but apparently it was someone’s “artwork.” The piece by Katherine DeGaetani of the white canvas is something that I remember seeing in Rauschenberg’s work; certainly nothing I haven’t seen before. The photographs in the room adjacent to the main gallery were not really my personal taste or preference. Aesthetically, I’m more drawn to high contrast images, and these photographs were somewhat overexposed, but I’m assuming that was the artist’s intention in order create a mood. I’m sure every artist has some kind of rationale behind his or her work, and not everyone gets it right away. But whether a piece of artwork receives a negative or positive response from the viewer, the important thing is that it does in fact get a response. And perhaps, that in part makes it successful because it becomes something to talk about.

Fischbach Gallery

FISCHBACH GALLERY
210 11th Ave. New York, NY 10001

NANCY HAGIN: KEEPSAKE

Earlier this month I had the chance to visit the Fischbach Gallery in Chelsea to see the exhibition Keepsake which features a series of still lifes by Nancy Hagin. I was very impressed with the photorealistic quality of the paintings at Gallery Henoch and knew I had wanted to see something similar stylistically.

Once again I was quite impressed with the overall craft and skill of the work, as well as the realistic depiction of forms. Each painting is either done in watercolor or acrylic and focuses on "found objects" arranged in different ways and sometimes in different settings. There's certainly a sense of crispness in the work. Hagin uses light, texture, as well as vibrant colors in each painting to achieve that photorealistic quality.

I found the overall feel of the work to be somewhat feminine partly because of Hagin's choice of still life setups which include various vases, plates, cups, as well as fabrics and also partly because of the warm color palette. I also found the work to be slightly nostalgic. There was just something about it that reminded me of my grandma in particular and where I grew up. I'm actually taking my first painting class here at Mason Gross, and I think that is the reason why I have such a high appreciation for artists who can paint this way.

Chapter 2: The Crit

Chapter 2: The Crit

"Group critiques offer a unique - some say "utopian" - situation in which everyone focuses on the student's work with a mandate to understand it as deeply as possible. Crits can also be painful rituals that resemble cross-examinations in which artists are forced to rationalize their work and defend themselves from a flurry of half-baked opinions that leave them feeling torn apart." p. 47

"...the prevailing belief is that any artist whose work fails to display some conceptual rigor is a little more that a pretender, illustrator, or designer." p. 53

"They are social occasions that reinforce the norm. They impose a standardized discourse. They privilege unfinished, incompetent art." -Dave Hickey p. 54

"Moreover artists often don't fully understand what they've made, so other people's readings can help them "see at a conscious level" what they have done." p. 55

"MFA stands for yet another Mother-Fucking Artist." p. 58

"Creative is definitely a dirty word....You Would not want to say it in Post Studio. People would gag! It's almost as embarrassing as beautiful or sublime or masterpiece. For these students, creativity as a "lovey-dovey cliche used by people who are not professionally involved with art." p. 63

Chelsea Gallery Visits

PACE WILDENSTEIN
Maya Lin: Three Ways of Looking at the Earth
September 10, 2009 - October 24, 2009

The Pace Wildenstein gallery on W22 currently features the work of Maya Lin. The exhibition is based on Lin's interest in landscape as well as topography and allows the viewer to re-imagine the natural world in the interior space of a gallery. The three large scale installations are based on two real topographies and one that has been imagined. The 2x4 Landscape, perhaps has the most presence in the interior space. It is made up of 50,000 vertical 2x4 pieces of wood arranged in such a way that it ends up resembling a small mound or a hill. It is a quite impressive piece, especially considering the amount of time it probably took to make.

The two other works, Blue Lake Pass and Water Line are based on actual topographies. Blue Lake Pass is composed of 20 individual units that form narrow passageways resembling those of a mountain pass, while Water Line is a suspended wire installation which explores the underwater landscape.

What's perhaps most successful and interesting about these pieces is the fact that we can interact with work. We can view it from different angles as well as navigate through and around it. In a way. Maya Lin is making these somewhat inaccessible landscapes accessible to the viewer.




PACE WILDENSTEIN
James Turrel: Large Holograms
September 10, 2009 — October 17, 2009

Jame's Turrell's solo exhibition at PaceWildenstein on W25 features fifteen large scale transmission light works all ranging between five and six feet. I have seen this exhibition a few years ago, but it's always nice to revisit and perhaps gain a new perspective or outlook on the artwork.

Turrell plays with geometry and color but also with the aspect of illusion and the physicality of light. The geometric shapes and colors change depending on where you are in relation to the work. This results in an interaction between the viewer and the piece itself. Although at first glance the holograms appear to be similar, as you walk through the gallery each piece is actually quite different from the previous.


LEHMAN MAUPIN GALLERY
September 10, 2009 - October 17,2009
Juergen Teller

Juergen Teller's work did not resonate with me in the same way that perhaps Maya Lin's work did. The exhibition featured large scale photographs of two nude women in the Louvre. The women were juxtaposed against classical marble sculptures from antiquity. It appeared almost as if the women were trying to imitate of mimic the actual statues. However, Teller's snapshot quality did not portray the female nude in the best light. When we look at or think of classical sculpture, we think of something beautiful. By placing these women amongst these statues and shooting in the way that he did, it seemed almost as if he was trying to mock classical sculpture or the concept of beauty in general. I'm not quite sure...but maybe that's what he was going for.



ANDREA ROSEN GALLERY
Josiah McElheny
September 12, 2009 - October 17, 2009

Josiah McElheny focuses primarily on glass blowing as well as the assemblage of glass and mirrored glass objects. The main piece, is located in the center of the gallery. The artist has assembled and stacked up colored blocks of glass creating a kind of architectural sculpture resembling a miniature skyscraper. This specific piece somewhat reminded me of Donald Judd's work, simply because of its minimalist approach and nature.

The exhibition also features a series of white "paintings" (nothing I haven't seen before) which I couldn't help but associate with Rauschenberg's work. The other pieces are actually wall mounted cabinets which hold glass blown vessels all in sets of red, yellow, blue (primary colors). The cabinets play with the concept of the removal of ornamentation from objects of everyday use. I thought they were kind of cool and contemporary looking.

HENOCH GALLERY

555 West 25th Street New York, NY 1001

STILL LIFES
October 3 - 31, 2009

The Henoch Gallery in Chelsea is known for exhibiting work by both artists and sculptors who demonstrate the best in American, European as well as Asian realism. The current exhibition STILL LIFES includes work by Olga Antonova, Kirill Doron, Daniel Greene, Steve Mills, Janet Rickus, Jaye Schlesinger, Steve Smulka, Sharon Sprung, Ellen Wineberg, as well as Darryl Zudeck. Because the work focuses on skill and craft, each piece is depicted with stunning realism. There are moments when you feel like you need to get up and close to the painting in order to see the actual brushstrokes, just to remind yourself that this is in fact a painting and not a photograph. The work is really quite exquisite and so much attention is paid to representing the precise textures, surfaces and lighting as realistically as possible. You can just imagine how much work and time goes into each meticulously painted detail. I was perhaps the most impressed by the works of Steve Mills, Janet Rickus, and Steve Smulka, although all the artists were able to accomplish that photorealist effect. Sometimes I feel like artists pay so much attention to concept and idea that they forget about actual craft and skill. So,it was certainly nice to see artists who do away with all of that and just focus on painting. I had also learned that the director of the Gallery, George Henoch Schechtman, graduated from Rutgers. But anyway, if anyone is interested in this type of work I would definitely recommend paying a visit to this gallery.

Alex Bag Video

The Alex Bag video....a little cooky, a little out there...but strangely I found myself relating to her character just a little. But I'm sure any art student who watched the video found themselves nodding along at some point. I realize that there's somewhat of serious undertone to this video, especially about issues like mass production and consumerism. But when you see Ronald McDonald trying to put the moves on Hello Kitty, well that's just something else.

New Museum Visit

Overall, I was perhaps more impressed by David Goldblatt's work. His photography certainly succeeds in raising awareness of South Africa's history and what is happening there today. It truly sheds a light on the realities these people have been living with. The quality of the prints was great. I was especially drawn to some of the individual potraits shot by Goldblatt. There was one photograph in particular of an African man who was sitting in a chair and looking directly at the viewer. There was just something about his somber expression that truly made you feel for him. I think that art achieves a level of success when it stirs up emotion in the viewer, much like this series of photographs did for me.


I was slightly less impressed by Emory Douglass's compilation of work. Although the images were successful at making a statement, I didn't feel that same connection with the artwork. I found it to be somewhat repetitive. You get the idea/message by simply looking at a few of the prints. Nonetheless, the use of color and form, from a design perspective, was interesting to look at.