Wednesday, December 3, 2014

PDF website version - Becky

Also, this is the portfolio website I've been using up until this point... it's mostly up to date, except for the Costco cabinet:

Website (Edith)


Here is my new web site because I couldn't get the drop box to work. I will fix it further......some day.

Thank you.


Hannah's Website

Edith's website .....? thing?

IT DOESN'T WORK. I don't know why... I tried a lot of things though....

Gus Fulgoni Website

Monday, December 1, 2014

Kaufman test


Here is a more official version of my website:

Here is my Keynote version:



Sunday, November 30, 2014

Artist Web Sites (sorry its late)
***** Nice format of website. MORE OVER! His work is what influenced me to do
the realistic leaves! I remember I was very impressed with fake water dropletlest when I was
in elementary school. I never knew he was the artist. I want to imcorperate his style in my future work as well!
 ****** very clean and organized website. (Indian culture)
******Not well organized but simple color scheme is impressive. (You also have to take into account
that this person has alot of work out--and is more likely to sell her work for practical purposes, since they are ceramic plates/cups/dishes.)
*******intresting..... also a very clear web site.

Wednesday, November 19, 2014

Artist Website

Keith Haring

Art section divided by genre and year, big icons of image to scan through
Cool features like list of existing public works and location

Not the most visually appealing
Technically not his artist website but the Keith Haring Foundation website so a lot of other information that isnt his art, exhibitions and statement (Hannah)

Wednesday, November 12, 2014

Statement of Artist

Apparently also I didn't post this earlier either... Apologies!

I am a maker of biologically inspired forms through the integration of heritage crafts and new technologies.  My work aims to offer a new perspective of the natural world through scientific methods of magnification, collection, and categorization.  My recent work draws upon my fascination with the microscope and the resulting images and the myriad of ways that these different techniques utilize light, color, and magnification to dramatically alter the initial perception of a subject.

Monday, November 10, 2014

Other artist's websites

Here are the websites of some artists I've been looking at lately, most have pro's and cons in terms of layout and design.

Kim Beck -
PRO: Collections of works are displayed as images, rather than titles, right on the front page. Titles are so ambiguous.  I also like that she has a link to her working tumblr (this is becoming a common trend amongst many artists, and it's something I've grown rather fond of in my own practice).

Jennifer Murray -
PRO: I kinda like the scrolling slideshow showing, again, examples of each collection, right on the homepage. I also like that they correspond to the same order as listed on the left side of the page.
CON: I had to zoom out/adjust my browser in order to get the homepage to fit all in the screen, which was just kinda finicky and annoying.

Mary Temple -
PRO: Big name at the top, oooooo/aaaahhh affect.
CON: (biiiig CON) No artist statement or biographical info?? If it's there, it's too hard to find. Not good.

Ryan McGinness -
PRO:  I like the block shaped navigation cues at the top of the page, versus the side.
CON: I don't like searching artworks by year. What if I don't know what year exactly you made the work I'm thinking of?!

SWOON (EV site) -
Although there's nothing too exciting/intriguing about the layout, I've been thinking a lot lately about how installation/street artists support themselves with their art.  Swoon is an incredible street/installation/public artist (wheat paste, yeah!), but her work isn't necessarily pieces that she can sell.  This website is a site dedicated solely to EV (editions vary) prints of selected works.  The site solely is dedicated to this work, not to any of her other pieces, which I find interesting, that this site dedicated to consumeristic support is separate from any sites about her other work.

Post-critique Project #2 (Becky)

And here comes a long slew of things that I should've had posted on this blog awhiiiilllee ago (my bad):

The critique of my second project was, overall, very positive.  Going into the critique, I had several questions for my peers, some about formal elements of the display as well as about content.  For me, one of the most intriguing aspects of the process for this project was the physical collecting “expedition” I went on to the Iowa City Costco. I purposefully went to the store without a membership card to see what my experience would be as a true outsider to this constructed exclusive community/society.  In particular, I was interested in bringing back physical specimens from my expedition and displaying them as a collection in the style of an 18th century “Cabinet of Curiosity.”
Based on the comments from my peers, I was successful in this formal, visual venture; the displayed items (both food and the containers/utensils I was given) evoked curiosity and wonder, subverting their commonplace, positive context as tasty food samples and changing them into odd subjects of disgusted fascination. One of the formal questions I had for my peers concerned the inclusion of a red, COSTCO logo vinyl cut-out on the top of the display.  I was concerned about the plastic, red vinyl sticking out in contrast too much with the antiquated feel of the bottles and shelf itself.  Although some thought that I could possibly get away with removing the logo itself, most agreed that it was perfect as is, and that it was just the right amount of commerciality and reference to Costco for the assignment.
One of the possibly more critical comments about the piece, visually, came from the fact that some of the jars overhang the edge of the shelf slightly.  This added a precarity/fragility feeling to the piece, possibly opposing my desire as the creator for the viewer to come close and inspect the items in the jars and bottles.   Since they were so precarious, there was concern about getting too close and upsetting the balance, which goes in direct opposition to the viewer wanting to inspect the items on the shelf.  The slight mismatch of the bottle size to the shelf was not intentional on my part as the artist – the shelf was a piece that I simply fixed up because it was on-hand and faster to fix up rather than build a new cabinet or shelf.  Although, in the end, I think I enjoy the tension that this adds to the piece, and appreciate the protection that it provides for the piece. Because of this tension, it is unlikely for someone to mess with the arrangement of the bottles (which is very particular and purposeful) or to slip one into their pocket as a souvenir.
Besides the formal elements, we discussed the possibility of adding a written component with the piece, journaling the “expedition-adventure” I had taken to Costco, in a faux, 17th century journalistic manner.  Such manuals and illustrations of collections were common.  In the end, it was determined that unless integrated in a clever way, the piece was visually strong on it’s own.  And besides, such collection catalogues were never really viewed with the collections themselves, anyway.

Tuesday, November 4, 2014

Critique Writeup (Elle)

I made this piece, “Assembly Line," to explore two different aspects of industry; the disgusting and overwhelming nature of excess, and the calm, reassuring nature of controlled patterns found in mass-production. Thus I created a tension between a static, aesthetically attractive image and an “assaulting,” jarring, and hard-to-watch video—together illustrating the human conflict with simultaneous attraction and aversion.

Critique of my work focused largely on the tension between the two pieces; many said that while the image had a calming effect, the video was uncomfortable and headache-inducing—yet they "couldn’t look away from it." Andy Warhol’s soup cans were brought up as a possible influence, but people found my piece to be more “relentless” than Warhol’s. Ultimately, the class seemed to agree that the two components (the image and the video) worked together to create one complete piece that made a strong statement about industry.

Monday, November 3, 2014

5 Websites I Like! (Elle)


Daniel Von Sturmer:

Yogi Proctor:

Pieter Hugo:

Richard Grayson:

Sunday, October 26, 2014

      My work deals with concept of home.  For me, home is a place where I have spent a great portion of my life, because I  become more fond of a place as I spend more time at the place.  I have walked on street I have painted for more than 10 years, and indeed I have not only gotten fond of it, but also have gotten to know the details of the street: deciduous trees are aligned next to a side walk so that they provide shade in the summer, the street is usually very empty during high noon, and there are always cars parked next to the sidewalk even though it is no parking zone because the area is highly populated.  Even though the viewers would not readily understand what is going on in the painting, I hoped to share with the viewers what I considered "home"and question what home means to them.


Tuesday, October 14, 2014

Artist Statement

           My work incorporates my family member’s spirit into my art pieces. I am an adult with a mind set of a little kid making art that I enjoy doing with the big machines the school provides such as laser engravers, printing press, and others. I watched as a young boy animated comics such as Pokemon and Yugioh that has shape and influence my artwork today. My child’s view lets me pretend to be an artist to create original work that I can be proud of calling my own. My inner joy comes from making my fantasy creatures come to life. The best source for my passion of animation is my dreams where I can create any kind of scenario. Working hard to create the creatures of my dreams gives me deep personal satisfaction. My inner child exists really to make art.

I am Gus Fulgoni, and here is my Artist Proclamation.
I am fascinated with touch, both as an action and experience.
Often I am told to stop touching things, but how can I stop when there are so many great things to feel in the world? Why must art only be viewed?
I hope that my work draws people in to cop a little feel, and interact with it on a more personal and physical level.
I believe in touching things.
Only when you touch art, and interact with it on a physical level, can you truly understand its complexity.
My art revolves around creating with my hands, and how they play an active role in all that I do.
But, once my art falls into the hands of another, it is theirs to do with what they want.

You can look at it.
You can walk around it.
You can tear it apart.
You can add to it.
You can subtract from it.

But, whatever you do…don’t NOT touch the art.

Artist Statement: Douglas Dale

I, Douglas Dale, am a sculptor inspired by transformation of found materials. I use common objects and edit them into unrecognizable, unique textiles. I encourage maximum interaction between the viewer and my work, using senses other than mere sight to allow access to a wider audience.
I hope to attract viewers by presenting unfamiliar mediums. Found objects are manipulated into something alien to a gallery, as I mix spools of yarn to form a soft textile, or heat glue to make a flesh-like membrane. The viewer’s unfamiliarity with the object produces its own concept, as one attempts to relate to the piece through his or her own experiences and connotations.

Accessibility in art is on of my crucial goals. Extrasensory elements are included to not only enhance the experience of able-bodied viewers, but to also open up the world of fine art to the young or visually impaired. With the inclusion of senses beyond sight, including touch, sound and scent, I hope to widen the audience of fine art, allowing those inclined to touch to give in and experience the piece more fully. Intellectual accessibility is also a part of this goal, for abstract ideas are clearly articulated by plaques or literature, hoping to combat the stereotype of “insider” art.

(Note: I totally misunderstood this assignment and posted it to my other blog. So I had it up by the end of class, just not in the right place.)

Monday, October 13, 2014

Artist Statement

I believe photo-making, when spontaneous and unplanned, is nothing less than a window into the photographer’s mind. In no other medium can you create an image so quickly—with so little forethought. In this way, the photograph captures intuition, and the ever-so-fleeting spark of inspiration.

My photographs investigate the human fascination with subversion, the taboo, and decay; it disgusts us and interests us at the same time. By choosing subjects that are usually ignored, outcast, and considered ugly, my work subverts the idea of what we are supposed to see in photographs.

I am fascinated by the roots of the photographic medium, and like to apply old methods and aesthetics to the modern world. I am interested in critically looking at how the camera can be used not only as a means of documentation, voyeurism, and advertising, but also as a way to disrupt and expose these problematic uses.


Edith March: Artist Statement

I want to attract viewers through simple aesthetic images to depict an ephemeral moment in time. I focus on either traditional Asian, calligraphy-like style or contemporary, Asian narrative art such as manga or anime using digital techniques. With traditional works, I want to depict more of a tranquil atmosphere—reflective of Korean landscape or flower paintings. With narrative art such as manga or anime, I want the viewer to feel the range of emotions a particular character expresses through their body or facial expressions.

Artist Statement

I enjoy telling stories. My illustrative works serve as windows, introducing viewers to the narratives I have created. Through characters, setting, and the atmosphere of a piece, I give viewers a glimpse into another world and invite them to imagine and explore its depths, taking hints from interrelated pieces.


Artist Statement

I use color and different levels of abstraction in my work to explore a variety of subjects. I am artistically interested in very general concepts, like the repetition of imagery and cycles, and more specific social critique, such as the use of my own gendered body to make art. My work usually involves print and digital manipulation processes, sometimes combining the two.

Artist Statement

I use my body as a subject to represent a powerful force. Within different spaces, I try to create an experience through performance which appeals to multiple sensations. I am interested in exploring the limits of my body and the spaces it occupies. Impermanence and visual interruptions in daily life provide foundational ideas in my work. 

Monday, April 15, 2013

Show Name Ideas

The I/V of Truth
I Wanna Eat It
Collaboration in Neo-Baroque
Is This the Grille?—Collective Interpretations of the Neo-Baroque
Soft Semblances
STAR WARS: A Neo-Baroque
Simulacra—Look it Up
Joe Biden
Free Backpacks

*sound, not word