Final Project

I’ve always been interested in how people are forced to negotiate with structures when they move them, like moving furniture up stairs. So, after seeing images like these from the Trisha Brown Dance Company

And Merce Cunningham

I've always wanted to make outfits where someone is forced to be moving awkwardly connected to a 2x4 or a strange constructed architecture. To me this is a good project to do for green sculpture as a way to bring up our immediate physical relationship to our surroundings, as thinking about it more could be beneficial.

Now that I am refreshed on crocheting thanks to Zach’s wife’s presentation in class, I’m thinking of this as a way to process materials. I made a small piece after that workshop and I like the way the knots look as a drawing.

I was thinking I could make a tapestry from plastic sort of in the fashion of Anni Albers...

I use building materials a lot in my studio. In seeing Sara’s trash Island project and how they used trash as a building material, I’m thinking I could also use this elective to build building materials out of debris that I could use in the future in my studio.

These are some of the ideas I have. I’ll talk to you guys Monday.

Also, here's an interesting thing that is going on: LEED. This program deals with the effective use of materials in architecture and design.

Marc Fischer: Temporary Services

Marc Fischer's discussion of his work with the group Temporary Services on Thursday night was of interest to me because, as a basically object-oriented ceramic sculptor, I often hear a perspective on art practice which is very different from, or entirely contradictory to, the view that Marc proposed. I am always extremely interested in hearing about disparate ways of progressing one's career as an artist, and I am happy to learn about a group of people who are dedicated to a non-traditional approach, even if I disagree with some of their beliefs, because I believe the more traditional art world can only benefit from the presence of this element in the dialogue.

One of the things I am most interested in about what Marc covered is the possibility of working without money and outside of the confines of a single, particular medium. I like the kind of empowerment he gives in demonstrating that if you have an idea and a few resourceful people you can find a way to do what you want, even if no one wants to buy, publish, fund, endorse, or even permit, the work you want to do. I see problems with, but am not fundamentally opposed to, the art world of galleries, grants, and residencies, and I do not think I will ever stop being a physical maker of art objects. Nevertheless, I frequently get just as excited about a seemingly (but not actually) random non-ceramic side project that I have an idea for and want to do simply for the gratification of doing it. It is easy to think of these ideas as impractical distractions from "real studio work", but when you are thinking of the personal, collaborative, and social value of projects free from a consideration of a patron's monetary valuation, there is a great feeling of liberation. Marc's discussion of his projects like Half Letter Press and the micro-grants associated with Art Work were inspiring because they are self-funded, self-motivated and allow complete creative flexibility (other than ideas that are intrinsically expensive).

Although I haven't discussed my views on each of the different Temporary Services projects Marc talked about, my primary response is to the elements of his presentation that I have focused on above. I am glad that we were assigned to attend this talk because I would not have gone otherwise, and also because I think being able to reference the work of Temporary Services will be valuable in our class discussions and those within our respective departments.

Shae

Temp. Services

Tonight the Kansas City Art Institute held a lecture from a member of an art collective called Temporary Services. I thought their marketing of themselves was a little transparent and unknowingly trendy (it seemed like the group wanted to capitalize on the idea of a zine shop and guerrilla art). I thought their work was amusing and sometimes pretty (like the public phenomena project), but I had problems with the implications of what they were doing.

The collective promotes a democratic framework for art and have managed to benefit from being anti-institutional and ignoring conventions of art. In continuing this tradition of the Fluxus movement and demonstration art in the 60s and 70s, they do charming projects like slipping art into shelves of the public library, puting drawings of inventions made by a prisoner into a gallery, and placing punkish passive-aggressive signs with handles around a city to be moved wherever by the people.

In their project "Public Art Opinion Poll 2000" and a more advanced "Public Art Opinion Poll 2009", the group presents a critique of public art through the voices of anyone who wrote them down on a clip-board the group pinned to a telephone pole next to the pieces. The people's ideas were "it sucks", or "it rocks" and got more elaborate in the second running. I think the project was an entertaining gesture because bad art does suck, but the idea was to allow these examples to be part of a broader critique.

The rep tended to sound self-righteous in talking down people who spend money on art and commercial galleries who represent artists. He put himself in a typical position of implying fine-art is bullshit. The man called funding for art frivolous spending in talking about Anish Kapoor's Cloud Gate in Chicago. It’s true that not everyone wants to see any purpose in abstract art or fine art but that doesn’t make it irrelevant. I believe the art world has moved past that basic disapproval and found ways to deal with promoting the right conversations that involve a distinction between artists and ceo's, and placing a value on art. I found myself disagreeing with Marc Fischer, because I believe in the effort of fine art and the value of formal critique.

I also felt like maybe the work inadvertently surrounded making a spectacle of whomever they’re trying to advocate. I imagine that for people in prison and people who have to make basketball hoops out of milk crates, that these creations (although formally beautiful) are oppressed desperation. To exploit this as clever and funny and re-contextualize it without regarding the tragedy in these things, seems maybe shallow and demeaning.

Marc Fischer Lecture Response

I found the dedication and intentions of Marc Fischer and his collaborators stimulating.They work within a small budget and make the most out of each situation. The Half Letter Press is a good demonstration of that. The booklets are made of a folded sheet(s) of paper depending on the funds as he explained. He commented on their intentional means of working with restraints, he would fold and staple the booklets in order to save money. Which lends itself to the DIY movement. I found their support of other artists or "creative works in general" great. Under no discretion, an artists community is continually growing.

Marc Fischer is 1/3's part of a group called Temporary Services. The group explored a project titled Public Sculpture Opinion Poll. He comments public sculpture can cost so much money to make and also upkeep. In this exploration the group strapped clipboards to poles near a site of sculpture and asked the public their opinion. One of these events asked for feedback on a sculpture titled Episodic. It is a continuous form made up of light poles. Apparently Episodic did not have any information accompaning it for some time and the community's response in general was negative. I do not believe the ability of public sculpture should be dismissed. In some cases it may need the intent spelled out to reach a broader audience. However, I realize not everyone is accessible and sometimes artists are making art for other artists. The success in the Public Sculpture Pole I believe is raising questions, for the viewer and the artist. In a sense Temporary Services act as "middle men" in this project. I found it interesting when the group received more thought out opinions when responses were able to be made via email.

I appreciate the sort of community based work and social experimentation Marc Fischer is dealing with. His photographs of particular areas I found fun and appealing. The images are makeshift instances of everyday people. They convey the creative acts that occur on the streets. I think Marc Fischer and his collaborators are in most cases, making a critique of Art that resides in galleries and permanent collections.

Trash Island

First of I should fill you all in on what trash island is... It is a collaborative project between a former KCAI student and myself with the help of other Art Institute students and The Lakeside Nature Center. We held a workshop to construct an inner tube made from construction netting and plastic bottles as the floatation device. Secondhand netting was then used to fill the tube structure. The nettings purpose was to support the roots of the plants we would be filling it with. Plants were donated from the Nature Center and one local Nursery. Then we proposed our floating garden to a committee to seek approval to launch it at Lake of the Woods in Swope Park... It was approved!

We choose Lake of the Woods at Swope Park because it is a heavily polluted public location. We wanted to use the island as a vehicle to speak about pollution not only only a global scale,(specifically the trash island that has formed in the Pacific Ocean) but also on a local spectrum.

It looks great and the plants go through a natural process to aid in water remediation. The trouble is there is no signage to communicate what our intentions were for it to speak and bring awareness to. That is why I am going to utilize the Green Sculpture elective I am in to tie up the loose ends this project so desperately needs...A sign!!!
I came up with this piece of plastic after considering several materials. I think the transparency will lend itself nicely to see the island in the background therefore tying the two together. My first instinct was to clean it up before adhering vinyl lettering but after speaking with my classmates, I think it will only heighten the grotesque nature of what it will be communicating. I still am working through some technical issues, like what type of vinyl lettering to use and coming up with the proper support leg or legs to steak it into the ground. I am really excited about the sign! I think when it is put together it will possess basic sculptural elements, balance and gesture that I explore in my studio practice. Above all I hope our project will communicate the huge pollution issue at hand and encourage individuals to make conscience decisions that effect our environment.

Boat Building Ideas

I am planning on building a boat as my main project this semester, so, in preparation, I have been looking at plans for different types of simple boats. I would really like to primarily base my boat on The American Boy's Handy Book from 1882, but I thought it could be helpful to look at some contemporary tips as well. I think I will end up making a scow, basically, but maybe with curved sides, like a skiff. I'm not sure if I will go with plywood or all-plank construction, it might depend a bit on what the best free repurposed wood I can get is. I am also thinking about the exact function or idea I am intending for the boat to have, so I can hone the design to enhance that. It would be incredible to build a birch bark canoe or a dugout, but I think that might be a bit over my head for this class.

http://www.instructables.com/id/Building-a-One-sheet-boat/

The above link is great because it demonstrates how much one can make with pretty major limitations and a low budget. I would not have to follow the same restrictions in making my boat, but it gives a good idea of what's possible. Below are some other ideas I looked at to see a variety of options.

http://www.instructables.com/id/Pumpkinseed-Kayak-build-it-its-easy-sail-away-a/

http://www.instructables.com/id/How-to-Construct-a-Simple-Boat/

http://pdracer.org./

Shae

Manipulating Styrofoam With Steam

Materials 

Recycled styrofoam cups or other styrofoam

Rubber bands 

A stove top or a hot plate

One glass bowl

Step 1

Put 2 or 3 inches of water into a pot and bring to a boil. 

Step 2

Take one of the styrofoam cups and decide where you want pressure to be applied. Put your rubber bands around the cup and it will bend according to the pressure points once set in the steam.

Step 3

Take your glass bowl and add about an inch of water to it. Next place the bowl in the center of the boiling water and put the styrofoam cup into the bowl. Cover the pot and let the cup sit there for 7 or 8 minutes. Monitor the styrofoam here to ensure that it does not melt or release any smoke or fumes. 

Step 4

Remove the styrofoam from the bowl and take off the rubber bands.