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Digest 22
litoral gothic different an mersul
From: scoala sistemul matrimoniala iasi an
Comments
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Sculptists. . . .
Maybe it is the holiday, but things seem to have cooled down on
the
List. Enclosed please find a number of interesting postings. For
those
of you whose curiousity about US-China relations this week, the
Sculpture Magazine of China has an invitation. There are a couple
of
follow-up comments on "whose sculpture?" There are a
number of
opportunities listed, and at the bottom I have included a couple
of
postings left from our Discussion.
I just hung up with Jon Isherwood, a stone sculptor who has
participated
in It's Sculpture! in Washington, DC. He has a knock-out new
sculpture
series going. The works are fabulous, but he voiced two concerns
with
the series on the phone with me. One, the works diverge from the
style
of his previous work, and he spends a lot of time explaining the
continuity he feels is there. He also has to vouch for the
validity of
his earlier work now that the new work is so successful.
Secondly,
because his new series takes advantage of new technology in
working
stone, he is facing authorship challenges like those intimated in
Chris'
question about "whose work?" Jon makes a plaster
original, which
Johnson Atelier's Stone Division scans 3-dimensionally into a
computer.
That computer drives a machine with a carbide burr that carves
the form
out of granite blocks, even changing the scale, if necessary.
I am strongly of the opinion that artists should be able to
change their
work whenever they want, and it should not affect perceptions of
the
financial value of previous work. I also believe that artists
should be
able to take advantage of the technology available to them to
realize
their artistic visions. The best artworks stand on their own in a
realm
of existence that separates them from their maker and the means
of their
production. Some work is about the gesture that an artist
delivers by
hand or with a tool, but some work is about the form, concept or
feeling
beyond those gestures or techniques.
Have a great weekend,
RJ
CHINESE SCULPTURE MAGAZINE
Hosted by the periodical office of the Sculpture Magazine of
China,
http://dspt.com.cn is a professional website in the sculpture
circle of
China. If you are interested in introducing your works to the
Chinese
counterparts, please mail your resume and photos of your works to
us, or
send e-mails to skfe@sina.com. We will be honored to make a
personal
web-page for you and introduce you to your Chinese friends. Our
address
is China DSPT, East No. 1, Building 711, Jinsong District 7,
Chaoyang
District, Beijing, CHINA and the postal code is 100021.
Wish you the best.
China DSPT
WHOSE SCULPTURE?
Whose sculpture is it?
The credit always goes with the artist-designer, and not the
craftsman-fabricator. This has been true from the beginning of
sculpture,
when Michaelangelo had his students chipping off the excess
stone.
Bill Diem
WHOSE SCULPTURE?
For Charlie- I have always had an uneasy feeling about
subcontracted
sculpture. I am reminded of comments by David Smith that I would
like
to paraphrase: "If you take a drawing done by a master and
place a
sheet of tracing paper over it and copy the image as best as you
can,
there will remain a discernable difference between the copy and
the
original, even if the copy is only off by a hair. The same is
true at
each stage in the fabrication process, the hands of all the
workers will
be visible in the finished piece." Needless to say, he said
it much
better than that. In my own opinion, I am fine with the artist
putting
their name on the finished piece, but if a majority of the work
was
fashioned by another, I believe their name(s) should be added as
well,
right after the artist's own.
For Ray Miller- where can I see some of your work? Do you have a
web-site up and running?
Sam Spiczka
http://www.angelfire.com/mn2/sculptorsam
MONTANA OPPORTUNITY
The Montana % for art program announces public art projects.
prospecti
for national distribution.
Pine Hills Youth Facility, Miles City
request proposals from artists for projects responsive to the
architecture, site and occupants of that facility. Three sites in
the
facility are available budget for all three sites is $25,000
Renne Library, Montana State University, Bozman (3 projects)
1.reading/study area 18ft. atrium
2.platform at base of open stairwell - requests lively, colorful
perhaps kinetic art for this site.
3. different locations for 2d work
total budget for all 3 projects is $59,000
deadline for submission is not known
Contact: Cheri Long 404-444-0429 or cherilong@onewest.net
SCULPTURE SHOW OPPORTUNITY
The Tri-State Sculptors 16th Annual Indoor/Outdoor Sculpture
Celebration will be held in Lenoir in Mid. September 2001.
$1,5000(sic)
in
prizes awarded. for more information contact
www.conninc.com/caldart.
OHIO UNIVERSITY TEACHING POSITION
Late announcement. Please bring this position to the
attention of those who may be interested.
School of Art, Ohio University
POSITION: Assistant Professor, Sculpture
(Tenure-track)
AVAILABLE: September 1, 2001
SALARY: Salary commensurate with experience
MINIMUM QUALIFICATIONS: M.F.A. in sculpture or
equivalent. Experience in foundations teaching. Able
to bring strong contemporary approach to the use of
traditional sculpture media in diverse and inclusive
sculpture program. Deep commitment to own work and
active exhibition record required. Demonstrated
ongoing outstanding creative involvement and potential
for distinction in field of Sculpture. Facility in
sculpture techniques, processes and equipment
associated with the production of sculptural objects.
Interest and ability necessary to the maintenance of a
well-equipped sculpture facility in cooperation with
other sculpture faculty. Ability to serve effectively
as advisor to students and on school, college and
university committees. Strong communication and
interpersonal skills. Computer/digital literacy
beneficial.
RESPONSIBILITIES: The successful candidate will teach
3-D Foundations, be responsible for foundry operation,
and share in the teaching of all levels of the
sculpture curriculum undergraduate and graduate,
including casting and foundry operations.
TO APPLY: Send letter of application with
addresses(including e-mail) and phone numbers of four
references; curriculum vita; artist‚s statement;
examples of student work and course syllabi; teaching
philosophy; 20 labeled slides, reviews and other
appropriate documentation of creative work with SASE
to: Sculpture Search, School of Art, Ohio University,
528 Seigfred Hall. Athens, OH 45701-2979.
Applications from women, minorities, veterans, and
persons with disabilities are encouraged to apply.
Candidates must have an understanding of and
commitment to affirmative action and equal
opportunities.
APPLICATION DEADLINE: Preference to candidates who
apply by May 1, 2001
Ohio University is an Equal Opportunity/Affirmative
Action Employer.
HENRY LAY OPPORTUNITY
Louisiana, Missouri: Henry Lay Sculpture Park announces a call
for
outdoor sculpture for our children's area. The Children's
Sculpture
area is approximately eight acres and is developing a theme of
literature, art and nature. The sculpture park is approximately
20
acres surrounded by 300-acre natural refuge. The park comprises
natural
meadows, lakes, and streams, and is surrounded by wooded hills.
Also on
site is Lay Center for Education and the Arts and in 2002 artist
residencies will be available. Applicants should include up to 20
slides, including information on project proposal and estimated
cost for
project and timeline. We are looking for eight projects that will
each
will be given up to a half acre of the Children's area (most
sights are
a quarter of an acre). A resume, artist statement, and SASE
should also
be included. Deadline for submission is 5/25/01. Materials should
be
sent to Janet Couch, Lay Sculpture Park Review Committee, 17405
Hwy UU,
Louisiana, MO. 63353. Any questions can be sent to Nanette
Boileau,
curator at Saint Louis University at boilean2@slu.edu or call
314-977-3398 or to Janet Couch at hlay@nemonet.com or call
573-754-6641.
SCULPTURE GARDEN USA RESEARCH
I am a MFA sculpture student in SUNY Albany and I am from
TURKEY... I am
thinking of making a research on the Sculpture Gardens in USA...
I will be very happy to get some feed back from all of you... I
will try
to collect info about the Sculpture Gardens and make a huge file
and
hopefully try to visit some... I am very interested in how a
Sculpture
Garden is put together and run? How is involved, both on Art and
the
business side? So management part is also very important to me...
I will welcome and in need of every info and suggestions since
this is a
huge topic...
Thank you...
Baris
DISCUSSION:
NANCY JOWSKE
Shan Wells generously offered what many must feel is sorely
needed here, a college critique of Bill‚s work. Since Bill
lacks the
training in verbal smoke screening skills critical to a true
artist, I
am
providing for Bill his own set of Emperor‚s clothes to wear
at will - in
a
format any real artist can appreciate - an Artist Statement.
(remember
Bill, the following in no way attempts to reflect your true
motivations,
as is true of most artist‚s statements) (my gratitude also
to Shan
Wells,
whose insights into Bill‚s work provided several priceless
phrases)
An Artist‚s Statement for Bill -- „I generate objects
framed in
suspended
time/space, as commmentary on the didactic social construct that
is
Man‚s
„fascination‰ with Nature and beauty. I utilize my
engendered
„perspective‰ as a „trained biologist‰ (a
voyeur/collector/ violator of
Nature) and victim of the scientific method myth. Selection-
procreation-
adaptation- evolution are mirrored in my work, reflecting our
multiple
man/critter dualities. As a post-post-modernist
neo-deconstructuralist
exploiting the‰realist‰ genre, I challenge our
„belief‰ in the
„existence‰
of the „real‰ and deny the communal commonality of our
affectualized
affection for our shared inauthentic authenticities. I utilize
the
fabricated state of my art, utilizing bronze disguised as
„natural‰
materials to reference the falsicity of the „art
object‰ and the
co-opting
of Nature through glorification/subjegation/exploitation.
I work within, thereby covertly utilizing, the contextual frame
of the
nature artist/entrepenuer paradigm. I explore the outerside of
innerness
and the otherness of inwardhood within the temporal
object/man/nature
matrix continuum. I hold my chisel as a giant phallus for the
world
to
admire as I claim my work more important than Nature. I speak to
and of
the „beauty‰ of Nature as model for the devaluelessness
of the
gopher/grasshopper dicotomy.
Beauty in Nature is my Seductress and my Enemy, which I capture
„realistically‰ to deconceal for its inner
superficiality. Beneath the
„beauty‰ and „grace‰ of my Art lies the
brutal denotation of capitalist
profit making. I am an Exploiter who asks, how are animals, and
by
extension, nature, valued? I proclaim Nature as Commodity!‰
Now, Bill, now off to the Whitney with you!
Ann Klefstad argues that there are apparently many artists
being promoted and critically recognized whose works reflect
their
sincere
mainstream religious beliefs. She presents as an example Chris
Ofili,
who
she describes as a "devote Catholic." Sorry, I know a
DEVOTE Catholic
when
I see one. Mr Ofili does not enjoy the luxury of labelling
himself a
devote
Catholic, nor should Ann describe him as one, unless he
surrenders his
will
(and individuality) to the Papacy. Now, let's imagine, would the
Pope
approve of the Madonna in question? Trust me here, no. The Church
regularly publishes a list of banned books and films that devote
Catholics
are not to look at, yet alone create. If I remember correctly,
the
Church
smacked about Martin Scorsese for his film on Christ, threatening
if not
exercising excommunication. Catholic doctrine and philosophy is
quite
clear on both modesty and the portrayal of the Virgin as assumed
above
all
worldly things. (including private parts and poop) His work is an
offense
to true devote Catholics who avoid having their minds expanded to
the
heretical. Mr. Ofili might have been raised a Catholic, been
schooled
in
the faith (although he apparently slept through the primacy of
the
Papacy
part), been moved by Catholic practice, he may even take
Communion every
Sunday, but he cannot pick and chose amongst Catholic beliefs and
still
be
considered devote. Ofili (and Serano and Scorsese) may be devote
artists,
by contemporary definition, or better, devote self
expressionists, but
they
are most decidely not devote Catholics.
Last changed: February 22, 2006