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Julie Mehretu, Charioteer, 2007, ink and
acrylic on linen, 60 x 84 in., Collection of
Nicolas Rohatyn and Jeanne Greenberg
Rohatyn, N.Y., © 2007 Julie Mehretu,
Courtesy The Project, PHOTO: Steven Gerlich.
Photo taken from: http://ncartmuseum.org/exhibitions/current.shtml
Last weekend, I made my monthly trip from Charlotte to visit my parents in Raleigh. I find that every time I go back there I am increasingly impressed by the great strides being made in the art community. When I was younger, we lived in Queens, NY, and our weekend trips to the city introduced me to the Met, the MoMA, the Whitney, the Guggenheim, and countless galleries. In 1995, I can’t say that Raleigh had much to offer in comparison. The North Carolina Museum of Art is currently showing Julie Mehretu’s exhibit, City Sitings, until November 30. According to the NCMA website, “Mehretu draws on a dynamic array of popular imagery accessible to diverse audiences—maps, urban grids, graffiti, calligraphy—and configures these into an unanticipated, irresistible personal visual vocabulary.” (Art, 2008) Her monumental-sized works reference Miro’s combination of blocks of color and intricate line, as well as Pollock’s expressive mark-making and Matisse’s cut-outs. As a whole, they seem to be so free, gestural, and intuitive, but when you get up close, you find the surprise of tight, intricate pen work and the crisp, sharp edges of color.What I loved most about this exhibit was the time I had to spend with my father. One of my professors once said that you could always tell the difference between the artist and the art appreciator in a gallery or museum. Those who appreciate art stand back and admire the work, while the artists get as close as they can to see how the artist made the piece. Well, my father and I were definitely the latter. We jumped back and forth debating the technique. Did she paint it? Did she cut it out? Was it all done by hand? Was it all done by her? How are there no snags from the technical pen she used? Where are the mistakes? Where’s the hand of the artist? There is nothing better than two passionate people discussing what they love.Most people are passionate about at least one thing in their life. And my passion is art, not only the art itself, but the community as well. Whether you are a professional artist, a student, an artist-wannabe, or just an art enthusiast, we are all part of this art community. Let me know what kind of exhibits you’ve been to and the discussions you’ve had. I would love to post your stories or questions and connect our art community a little more.
I know that I am a painter at heart, but sometimes the stress of school just becomes overwhelming. The reasons why I majored in painting begin to blur as the stress of upper level classes and the the end of the semester increases. One of the best things I have found in the BFA program is that I can escape from my concentration without escaping art and creativity.
Aside from painting, Fibers is my next favorite class and medium. There are so many crafty things that can be done with fibers, but there are also endless opportunities in the fine arts realm. I have been working on dolls dealing with body image issues in my surface design class. These dolls led me to the giant heads I am working on in painting. I was getting so frustrated with my paintings and then this came to me. Canvas is just another fabric. We just so happen to paint on it. In the traditional sense, the painter would stretch their canvas over wood, prime it, and paint. Instead of stretching my canvas, I sewed and stuffed it. Remnant of strange, giant, creepy heads in my last painting, I am tearing them off the page and bringing them to life.
Another lesson I have learned from fibers is the value of intimacy with a work of art. This thought led me to the different evaluations we have of a work from far away compared to up-close. I want to create things that may seem welcoming and pleasant (like a pillow) until you take a second glance and realize that first impressions are not always correct. That pillow is staring at you with unsettling eyes. Something you once found comforting is turning on you. How much can we really rely on those first impressions? I am still working out the kinks in my execution of these paintings, but I hope that in the end they will have the impact I plan for.
I think most art students will tell you that procrastination is a part of life. With three studios, regular academic classes, work, and a boyfriend, there is not much time. Somehow we I always seem to get behind in my studio work by the end of the semester and I have no time to catch up. Although I am surprisingly ok in my Fibers and Print Making classes, I am way more behind in my painting class. Funny, since that is my concentration. Right now I have two paintings that are almost finished, one painting I just started, a shadow box in the beginning phase, and a final project I have barely begun.
So all of this work is due and I only have about three weeks. Lucky for me, I have been in this spot before. The key to catching up on your procrastination is to GET ORGANIZED! I like to take out a calendar so I can see everything laid out. First I list all of my major assignments and mark their due dates. Next I break each assignment into sections. If it is an academic class, I would break it down by chapters to study. And if it is a studio, I would break it down by parts of my assignments that I could get finished in one setting. Finally, I fill in the blanks. Assign days and times to each of your assignments in your calendar and do not forget to take into consideration your current schedule.
Most importantly, make sure that the next time you have an assignment, you go through the organization phase FIRST! That way, you do not need to worry about jamming half a semesters worth of work into three weeks. So let me know if you have any tips about procrastination. I would LOVE to hear some new ideas!
