While the canon of art history is a monolithic force, some aspects of it are far from benign. Art history is billed as a treasure trove of virtuoso technique, stylistic … Continue reading Exposing the male gaze (with dolls)
[ 2/25/15 edit: The links to individual artworks no longer function. The Crocker Art Museum’s website no longer serves as a digital representation of their holdings. I hope this is … Continue reading Notes from the Crocker
This, the most complicated mat I’ve cut to date, represents a twenty-four hour period through comics. This was…a stretch for me. (Three of the spaces are blank because nothing particularly … Continue reading Bi-hourly comic
Here are a few more of the postcards I made last month.
I’m starting something new… My plans owe a grateful nod to work by Jaclyn Seufert and Beth Scher. …oh, and maybe Sandro Botticelli as well.
Correspondence art: and a scrap/accordion book to document it 1) Proust’s madeleines 2) Honkers 3) pictures of the pink/purple seal (designed with feedback from mail art #1) … Continue reading Four months of work
I recently completed what I considered a research trip to Europe. I brought a stack of quality paper and pencils and attempted to create as many souvenirs (aka postcards) as … Continue reading Souvenirs, part 2
…and by you, I mean me. What have I gained from copying? Here is a preliminary list of pedagogical incentives to be derivative. There is copying, and then there is … Continue reading What (besides the obvious) do you gain from copying?
Today’s derailing experience comes courtesy of my studio mentor. He pointed out that an opinion I expressed about identity politics invalidated my entire thesis. He wasn’t wrong…but the opinion I … Continue reading Identity politics
Seven hundred pages of research and note-taking later, I was floored by déjà vu. As George Santayana’s epigram scolds, “Those who cannot remember the past are condemned to repeat it” … Continue reading The One and Only Original, 2nd ed.
It’s time to present another eclectic batch of artworks that question assumptions and generally inspire imagination. Simon Stalenhag’s illustrations present a divergent version of the eighties. The Swedish artist provides … Continue reading More recursion
One of this semester’s experiments was to create two different types of frames for the same polyptych. One is an altered piece of secondhand luggage that opens up to expose … Continue reading luggage vs. WOODEN FRAMES
My previous art cubes used appropriation to present opposing two-dimensional views of womanhood in religious art history. This time that same self-transformation has a much larger scale. (Each of the … Continue reading Yoshimoto cubes, part 3
[ This paper was written in November 2012 to highlight the central irony of realistic painting. ] Naively, we artists often expect our familiarity with art to protect us from … Continue reading Our hubris regarding realism
[The following is a defense of original artwork I wrote during October 2012.] “We heard about this paint,” the customers explained, “which you put on a print to make it … Continue reading The One and Only Original
As Elaine Scarry mentions in On Beauty and Being Just, we more vividly remember our mistakes about beauty than intellectual topics (11). Somehow it is easier to recall a time … Continue reading Kewpies, feminism, and humility
What visual and Biblical archetypes does art history (aka art by European or American men in the last 2,000 years) provide for women? Sadly, the most popular archetypes are the … Continue reading Yoshimoto cubes, part 2
Here are a few thoughts from a recent visit to the University of Pennsylvania Museum of Archaeology and Anthropology. The majority of what I noticed was curatorial. Most of the … Continue reading Lessons from the Penn Museum
My longest essay last term was on the subject of polyptychs, their format’s rich addition to meaning, and the concomitant curatorial nightmare they pose. (Sans pompous academic language: they’re cool, … Continue reading Curating is harder than it looks
def. “a silent or motionless group of people arranged to represent a scene or incident” Those who have read Jane Eyre might recall the odd form of charades described midway … Continue reading Tableau vivant