Some photos from the road

I'm traveling around Asia this summer and this first stop was at the warm sunny beaches of Bali, Indonesia. Dave and I have spent the last 5 days on this gorgeous island and we are headed off inland today to see the bustling city. Here are some of my favorite shots from the last few days.

Sunrise this morning

I love it here

Chicago Research

I love stumbling onto new work by artists I love and new artists all together. I was recently wandering around the Chicago Cultural Center, for reasons completely unrelated to art watching I found this great show with the work of metalsmith and jeweler Kiff Slemmons, and sculptor Diane Simpson.

What I know of Slemmon's work is her metal piecess fabricated around found objects (my favorite being a ruler). The show currently running at the Chicago Cultural Center, "Pride of Paper/Orullo en Papel," is a very large collection of paper constructions (both jewelry and sculptural objects) that were collaboratively made between Slemmons and workers of the mountain village of San Agustin Etla, in Oaxaca or southwest Mexico. Originally Slemmons was invited in 2000 to be an artist in residence at the Arte Papel Oaxaca, a workshop founded in 1999. Paper making has a rich history in this region, since it was deemed blasphemous by Spanish conquistadores and paper making machines were mostly destroyed at that time, so very few still exist. Since 2000, Slemmons has made her way back to Oaxaca to continue working on the project and continues her work with the paper making

What is beautifully shown in the show is the process of making these pieces. Each piece starts from a since piece of paper that is 16" x 20" and cuts and folds are made to follow the intended design. For the exhibition you walk in a see the large sheets of white paper on the wall with each of the fold and cut lines laid out, so you can get a feel of the process.

Then presented next the papers in cases were the papers that have been cut and folded into their intended constructions.

(sorry these pictures suck, didn't want the guard to see, so I wasn't able to adjust the white balance)

I totally sneaked these images, and was quickly busted once I moved into the room where all the same white constructions then had color. The information said the white constructions (by this I mean the pieces made from white paper) were considered to be "bone" or internal structures while the papers made with color were considered to be "skin," although I found them to be strikingly similar with maybe one or two exceptions. I wasn't able to get many images of the colored pieces before being kindly asked to put away the camera, but I really enjoyed how they were displayed on the wall, as the artist notes, "sculpturally." I wish there was a catalog for the show but there wasn't.

It was nice to discover this show, and to realize that Slemmons is a Chicago artist. Another Chicago artist whose work was on display on the 4th floor of the Chicago Cultural Center is Diane Simpson. Simpson has been making work since the 1970s, referencing the architecture that alters the shape of the body. The objects she has chosen mostly fit the female body (makes sense considering the majority of objects made for body modification are for the female and not the male body), however she does offer a pair of shorts and a workbelt that comment of male bodies as well. What I loved about this exhibit was how precise each piece was.


Simpson's objects made from architectural materials considered both perspective and objectness. Simpson states she is not trying to create a replica or exact representation but an interpretation. I really enjoyed seeing her oldest work of cardboard structures protruding from the wall as they matured into these free standing garment structures towards her current desire to make backdrops for the garments. At the end of the show you get to view the catalog and see that the Racine Art Museum commissioned the retrospective and the backgrounds were inspired by the RAM's windows. Each of the dresses and their complementary window dressing environments fit perfectly into the windows that outline the perimeter of the RAM's museum space.

Since each of Simpson's pieces are carefully designed, drawing is another very important element of each piece. Aside each piece was her large scale grid paper, draftman-esque drawings. This made me really want to pick up my drawing game. I just really loved the intracasies of each one, in pencil with measurements on them. Very nice. I love that the drawings became a big part of the show.

Virginia Research

Why is there so much GOOD ART out there?? And how lucky am I to be able to reach so much of it that relates to and informs my work?? What a lucky girl. Aside from being able to meet up with friends and family in VA, I was able to catch two really great shows and the re-opening of the Virginia Museum of Fine Arts

Quirk Gallery
Miel Margarita Paredes - on show until June 26th.

Thank goodness for websites and news updates! Miel Parades is one of my favorites, and thanks to her news section on her website, I knew about her new show premiering at Quirk Gallery in Richmond, VA. Since that is my hometown, I am back there often and I was able to catch the premier of her new work.

There were two distinctive sets of work shown on Miel's side of the gallery. "Gnaw" included several round, breast-like elements slightly protruding from the wall. The widest part transitioning from the wall is a sugar coated white enamel with a dark copper nipple tip on the end of each one.

Miel Parades, Gnaw, Quirk Gallery, Richmond, VA.

Upon closer inspection I was happy to discover that each of the dark tips were actually rodent snouts poking out of the wall. Each of the precisely chased elements (perhaps they were brooches, I'm not sure) were different, ranging in size from very small to dinner plate sized and I enjoyed investigating the differences in each one. In Parades's artist statement she noted her decision to integrate animals directly into architectural elements found within the design of interior spaces and notes the continuation of her attraction to hunting trophies as a marker of the hunter. I wonder if there was any decision to further push the hidden element of these objects? By that I mean, could the snouty rodent objects that were plainly mounted on a flat gray rectangle background have been mounted on a wallpaper that was a similar color or texture so the objects integrated would be hidden more within the architectural concept? Could there have been wooden or faux architectural elements in between the objects? I would have really loved to come into the gallery space with this architectural maze and had to search for the rodent objects, especially considering that historical architecture is such a big part of Richmond.

"Gnaw" detail

"Gnaw" detail

"Gnaw" detail

Of the two series of Parades's work included in the Quirk Exhibition, this was my favorite. The other series, which I believe also falls under the "Standards" umbrella as well was visually very different. Again animals are morphed into architectural elements, but this time the animals are domesticated dogs and the shaping is more wavy and flat like what would be found near a room's corner, as well the objects were all in red instead of white. All types of dogs are included in the individual objects, from beagles to greyhounds, but I found myself less interested in this part of the series.

Miel Parades "Standards"

This part of the series was less interesting to me at first because of the subject. Something about seeing a variety of domesticated dogs on the wall reminds me of the plethora of doggie merchandise that can be purchased to fit the perspective owner's doggie taste. I wondered if this part of the show is Parades's attempt to have work included that would potentially sell? I also have to say that is what I initially thought, and after reading in her artist statement I was happy to read that she is purposefully referencing these doggie products. Also important to Parades is to highlight the protective role that these objects play inside the home.

Overall I was happy to see Miel's new work! I've been waiting for years for the follow up to her rock star MFA show out of UW-Madison and I will continue to watch her work as she develops.

Anderson Gallery
Social Skin - on exhibit until August 1st
Photographs by Lalla Essaydi - on exhibit until August 1st

I don't have any of my notes in front of me, so I may have to come back to this but I will try to wing it. Arg!

Social Skin
This show deals specifically with the body and how out bodies are marked culturally. Whether race, social status, gender or class this comprehensive 2 level show touched on many ways in which our skin is marked. I was initially excited to see this show because I know so many people included in the show! My good friend Erin Colleen Williams has two pieces in the show that she made while at VCU as well as two of my closest mentors, Susie Ganch and Sonya Clark have work included in the show. I was also surprised to see a black paper silhouette drawing from my racy gal Kara Walker (I don't know her personally, but I just adore her work), some very interesting ancient artifacts relating to the body as well as video work from Elizabeth King. And you can't do much better than FREE! If you are in town, please check it out, it will be up all summer, just make sure to note their summer hours, as they are different than the hours noted on their website.

Photographs by Lalla Essaydi
This show was a very lovely surprise. Lalla Essaydi is a New York based, Morocan born photographer, painter and installation artist dealing with the issue of being female as well as her cultural identity. What an excellent show for me! Another very large part of her work is language, specifically text. Essaydi employs sacred Islamic writing and covers her women and the environment with this text, even though the use of this text is traditionally reserved only for men. The women and objects included in her photographs exist in an isolated domestic space reserved for punishment where women were sent, however could not speak and we not spoken to. By covering the women and environment with this text, the woman are performing a political act of speaking while continuing to emphasize their decorative role. Essaydi's photographs are striking, and for me the use of text in these photographs is absolutely essential. Making me rethink the potency of text in artwork.

Virginia Museum of Fine Arts ReOPENs!!

Oh my goodness. What a beautiful new setup they have. Much of the work is the same, and even though they have just reopened not all of the rooms are open yet. I'm waiting for a new exciting exhibition when everything has reopened in a year or so.

On my ongoing quest to find "samples" here a few elements I really liked:


That's all for now!

NYC Research

I can't believe how long its been since I've posted. In the last two months I have gone from so busy that I am not sleeping or eating properly to having little to do but see art, eat and sleep. The spring '10 semester, being the end of my second year of graduate school, was incredibly intense, probably the most intense semester yet. However, I believe it was most productive and rewarding so far, I finally feel like I really understand why I'm doing what I'm doing, and what I need to do going forward. I applied for, exhibited, presented, defended and received my MA degree and have qualified for MFA candidacy, which will begin in the fall.

My homework for the summer is to do research, i.e. go see ART!! and I have been hot on the museum circuit since school ended 4 weeks ago. I took a much needed trip to the east coast to visit the family and have been able to reach some excellent exhibitions along the way. Since they are queuing up, and I don't want to forget how amazing they all have been, its time to address them city by city.

Having friends living in big cities is AWESOME! Thank you so much to James for letting me come and crash at his place during a busy work week. New York Museums truly are the best, and I was able to see at least 6 different museums during my visit, these are some of my favorites.

New Museum
SKIN FRUIT - Selections from the Dakis Joannou Collection/Curated by Jeff Koons

Of all the exhibitions I saw in New York, this was by far my favorite. I was eager to see the show because of the range of selected artists included in the exhibition. Several of the artists including Robert Gober, Jenny Holzer, Kiki Smith, Cindy Sherman as well as Tim Noble and Sue Webster's shadow pieces, which I get very little opportunities to see up close and personal led me to this show, and this was a rare opportunity to see them all in once location. I was equally digusted and curious at the choice of Jeff Koons for curation, however since I've heard that there will be a Jeff Koons piece included in the upcoming SNAG Exhibition in Print issue, due to come out this August (that's right, superstar Jeff Koons in a metalsmithing magazine...for some reason) I decided I should check it out..and I was really glad I did.

The goals of the show with a title like Skin Fruit, were to address both interior and exterior qualities, as well as implications of the body. Also considering the work included in the show was selected from the Greek Dakis Joannou Collection, and as I have most recently discovered in my studies of Greek history, the links between Greek anatomical representation and modern Western culture are incredibly similar. The work included in the show addressed a wide range of issues relating to the body.

Some of my personal favorites were the large scale gouache on paper paintings of Kara Walker, the shadow pieces by Tim Noble and Sue Webster, the beautifully bulbous female form by Ashley Bickerton, and the performance piece by Pawel Althamer. There is SO much performance art going on these days! That is just a side note, but aside from this show I saw at least 3 other performance art pieces making their way into large New York Museums...that makes me happy!!

Kara Walker, Philidelphia, 1996

I was so happy to see these large paintings by Kara Walker. Of her work, I have mostly seen her black paper silhouette cut-outs on the wall. This is the first time I have seen something different, which is actually older than newer. My favorite one was definitely Pegged, because there is so much attention to getting the time period and identity of the subjects correct, yet it is so incredibly graphic. I love how her women are graphic but powerful.

Tim Noble and Sue Webster, Black Narcissus, 2006

I've been following this duo for while now, being very interested in shadow play and all, I had not seen this piece yet. I love that it is all composed of penises, however there are some fingers and thumbs in there too, and I'm not sure why. I figure that is a huge part of the male identity, the penis, (those shadows look male to me), so the penis makes a lot of sense, but not those fingers, how does the finger fit in? I also have to note the very sweet security guard who made sure to point out the everyone who walked by that the penises made the shadow, thanks buddy!

Pawel Althamer, Schedule of the Crucifix, 2005

I have been mentioning this piece quite a bit since I saw the show a few weeks ago, not so much because the piece is incredibly complex, but that it is an active performance piece and I am so happy to see performances happening again! When I came upon this piece, I saw the crucifix on the wall, complete with bicycle seat, a ladder as positioned in the photograph as well as a dressing screen to the side with the towel loin-cloth and crown of thorns hanging from the screen. I could tell right away this was a performance space, but in case you didn't get it right away, the label card notes that every day at 3:00 the sitter will come into the gallery and be crucified.

The show is accompanied by a beautiful catalog for $45 bucks and for me it was well worth it. There are also a nice set of essays that I hope to read tomorrow now that I have refreshed my memory about the show. The show is traveling and although it is no longer in New York, it is well worth the $10 to get in and be wowed for a couple of hours.

The Metropolitan Museum of Art
American Woman: Fashioning a National Identity - On exhibit until August 15, 2010

This show just about took my breath away. I know, I know, its only clothing, however the way it was presented by the Met really constructed the historical accomplishments of women through changing fashion. By making garments more comfortable (i.e. women could actually move for themselves!) for sports or dance to losing the corset in the days of the flapper to specific fabrics that mimic military uniforms but were proudly worn by sufferagists, this show (of only garments!) was extremely powerful. I literally started tearing up seeing the projections of the sufferage films paired with the historic garments worn during those fights. It is amazing to me how much of a person's identity can be communicated through dress. I guess that is why I am so fascinated with objects, garments and all things that exist on the body, because of the stories they tell. Here are some favorites from the show:

French Sports Sweater, 1895

Jean Phillip-Worth, House of Worth, 1907-1910

Also playing an important role in the history of women's garmetry were the long flowing gowns of Hollywood gals of the 1930s and 1940s. The gallery again staged the garments in front of projections of the films they were worn in from the 1930s, 40s and 50s. I loved watching this group of older women in front of me as they reminisced about what they were doing when they first saw the films.

"La Sirene," Charles James, 1941

Charles James, 1936

Thankfully this elegant show is accompanied by a catalog, that showcases the garments of both the Metropolitan and the Brooklyn Museum, which both hold the costumes included within the catalog. I wasn't able to make it to the Brooklyn Museum, you can never make it to all of them, but if you have to choose, the Brooklyn Museum seemed to house most of the older works, while the Metropolitan housed more of the contemporary works. Since I've been traveling around, I've already read through my catalog and I was happy to learn of Charles James. James is a relatively unknown American fashion designer who is attributed for some of the most striking pieces in all of fashion's history. He produced works between the 1930s to the mid 1950s and even today these pieces seem incredibly contemporary. He pushed the complexity of his designs as an artist and sculptor rather than a fashion designer. Although never professionally trained, he meticulously refined his skills until they were perfect. Included in the catalog are also stories of each of the garments as well as some of the women who hoarded their garments and carefully maintained their treasures so they would be willed to the museum upon their deaths. What a change from then to how we now think of clothing. I guess movie stars are the new aristocracy of today. I wonder, will the J Lo Versace dress be part of the American Identity show of 2050?

My new Blurb Book

Please check out my Blurb Book with the work that I completed this year. I really love making these catalogs and hope in the future I can send them out to everyone.
Let me know what you think!
Please check it out here.

Studio Love

I said good-bye to my studio for the summer tonight. I've got some big plans for the summer, lots of traveling, doing research, honeymooning, sample making, writing, seeing art..but that means I can't be in my studio working. It gets harder and harder every year to leave my studio behind, but I know I am about to embark on an incredible summer. In store I have planned, NYC, Philly, VA, Indonesia, Thailand, Laos, Vietnam, China, Canada, Penland and then back to good 'ol Chicago to find an apartment and begin my last year at UWM. Going to be crazy, starting tomorrow. I'm ready.