Nov 14, 2012
commented on 216 Nipples Later
This wall of boob and text just makes me miss all the absolutely fantastic women that supported and guided my own art practice. This print is charged with names that work like spells on me, seriously talented and determined women. I am filled with love and appreciation at seeing the piece. Doesn't resolve it's reception in a broader sense and I would have to dwell on the idea of my name and a cartoon weiner likeness being used in a similar manner, AND ESPECIALLY IF THE ARTIST TROLLED MY NAME FROM A LIST WITHOUT KNOWING ME, but I guess that is a possible risk one takes when they HAVE an audience. I think I would have more issue with my name and work described incorrectly (materially or its intentions which has and happens all the time online) than I would with a bathroom stall tag that pushes me into a few pen strokes. Anyways, miss you ladies ;)
Jun 16, 2010
commented on What's wrong with art in Seattle? Our art schools, according to SAM's outgoing contemporary curator.
I received my Photo BFA from UW in 2007 and I cannot help but share many of the sentiments Darling mentioned. There is also a much broader and simple observation that I noticed, and still do as I monitor the darkroom every week: The UW Art building is devoid of any inspiration, art or shared creative space. That building is not conducive in the least for generation. Pale, beige, narrow and brick, it doesn't feel receptive to art. Its not a blank slate, it's a blank stare and I still feel discouraged when I'm in that building.
Aesthetics aside, my experience with the faculty was very enjoyable as you build a rapport that could feel like you are both working towards honing your craft but it always seemed like professors were so busy (especially with the grossly oversized intro photo classes) and so stretched thin that both the students and the professors fell short in their experience.
Additionally, I think a greater emphasis in medium cross pollination should have been more enforced. Only now am I having to find the qualities of paint and sculpture exciting and potential vehicles for my ideas. A drawing class, a poorly taught 2-D design class, a speedy 'contemporary art' seminar and a surprisingly therapeutic 3-D class is all we needed for our foundations. It never felt ambitious or experimental. The only time I really felt encouraged to break out of my comfort levels was with an Installation course which is now a staple. I worked with frozen dye and space, it eventually seeped through the whole building and became part of the building itself. It was a great turning point for me in regards to how my personal aesthetic translated into another medium. More classes like this would really stimulate better work and new material sensitivities.
I also cannot feel quite discouraged by students in the Photo dept as no one is in their making work. My whole quarter found me washing photograms only all quarter! Childs play! That's supposed to be a singular assignment that teaches you the inverse nature of exposure. Instead it was the whole studio experience for the intro class, a rip-off in my book.
In all, funding, adequate and contemporary space and cross pollination are the sectors that need the most improvement.
Jun 7, 2010
updated his or her location.
Apr 17, 2010
commented on Flickr Photo of the Day
yeah you are definitely the boner I'm talking about. I am well aware of photographic techniques and received a BFA in photo to prove it. I ran the whole gamut B&W, color, medium and large format. I have a Sinar and (shock) digitally scan the negs to get hi-res beautiful prints. What I'm gettin at boner is that we are talking about content. The picture is well composed, the colors lend itself to a sunny and memory laced experienced even if it mimics an analog process. People enjoy it, the way it makes them feel and what it leads them to think about next. No amount of naysaying or footstomping will change that. If you don't understand that then you may not suck at photography but you do suck at enjoying pictures.....boner.