Tuesday, November 29, 2011
Monday, November 28, 2011
Wednesday, November 23, 2011
Tuesday, November 22, 2011
5 YEAR PLAN
Complete my senior year at sierra Nevada. Make plan about BFA show! Complete my credits.
Complete my BFA and my show! Then second semester apply to grad schools and fill out scholarship information. Apply to local galleries. (The Riverside studio in Truckee, I could contact Heather River.)And figure stuff out!
MOVE! Start my MFA at Maybe Caifornia College of the Arts, or Hartford Art School. Make alot of really awesome work and submit to galleries In the area. (Galleries depend on where I end up)
Finish my MFA! Create work non-stop! Research artist in residency programs
Start an artist in residency program who knows where! (anderson ranch)
BFA in Spring
Continue to work at SNC for the following year
Enter a residency program (Anderson Ranch or other)
Start a new book
Submit to publishing companies and local galleries
Enter MFA program (undecided on where at this point)
Start working towards thesis
Continue work on book/portfolio
Continue work on book/portfolio
Maybe take a break and go climb some trees or something
Continue submitting to publishing companies/local galleries
Continue making work
Possibly another residency program
If possible, acquire studio space/small press
Continue submissions, etc.
Complete my BFA show at Sierra Nevada College with a better than passing grade and graduate in the spring.
Continue working in the 3 dimensional clay or otherwise. Progress my apprenticeship with Matthew Welter and gain more art connections through that.
Move out of parents house to somewhere in Tahoe. Keep my apprenticeship with Matthew strong and progress as a wood working artist, but also continue in mixed media and ceramics. Get a job as a ski instructor for a free ski pass.
Have several studio art contracts in smaller local galleries and some larger ones.
Progress my skill and craft to a point that will define my art to whoever looks at it.
Side job as ski instructor for free pass still.
Keep the current gallery contracts I have and continue to slowly move my art outwards into the surrounding area and larger city centers.
Continue to expand my knowledge of sculpture on any medium and have fun doing it.
-Have brettvarga.com up and running
-Pursue teaching MA
-Cont. Pursuing teaching MA
-Try to substitute teach
-Cont. adding onto website
-Try to do a group show with Burdett in Va Beach, VA
-Complete MA in teaching
-Try to get a solo gallery show in the works
-Promote solo gallery show
- Actually pull off the show within the year
-Use gallery show buzz to promote website
-Try to acquire a teaching job, permanent sub, assistant, etc.
-Try to continue making art while teaching
-Hopefully have a teaching position ( ANYWHERE)
-Continue making art
-Continue promoting myself through my website
- Try to get another group show in the works
- MFA in 2 D/ mixed media. Australia( 2013?) or USA. (2 year committment)
- Build up portfolio/ continue to build skill set. Course work through Sierra College (life drawing, oil painting and ceramics and PHOTOSHOP). Summer course work- Sierra Nevada College 2012 wood engraving- Sarah Whorf
- Riverside Studios for short term. Sales and work to cover cost of materials + . Riverside – artist of the month (joint show- summer, 2012 with Jessica Hayworth) Provide 2D work for commission sale.
- Nevada Museum of fine arts- docent program/ interships and jobs available in the Curatorial, Education, Communications, Advancement departments. http://www.nevadaart.org/about/jobs-internships
- Investigate residencies programs, juried shows
- Blue Bird jewelry design collaboration. http://www.bluebirddesigns.com/ Jessica Hall is a metalsmith and jewelry technician whose business is doing well. She is looking to expand her physical shop space and incorporate local artists and their work.
Monday, November 21, 2011
Sunday, November 20, 2011
Thursday, November 17, 2011
Wednesday, November 16, 2011
You can download a copy of the thing I handed out at the beginning of the semester, "Ways of Being a Working Artist" – it might be helpful to use as a jumping-off point for strategies of steps to take. Take a look at the tracks I laid out, and see which one might be most applicable to your ambitions:
You can have a general outline for now, but I'll expect you to flesh out the details. For instance, if you're planning on getting an MFA, I'll expect a list of three schools you think would be a good fit. If you're wanting to build an exhibition record, I'll want to know what galleries you plan to contact.
Tuesday, November 15, 2011
It all originated near the end of high school. I finally was able to take an art class since middle school. I showed a piece “Gorillaz” in the Contemporary Art Museum of Virginia. From there I moved onto Utah State where I increased my skills drawing, painting, photography, ceramic and in aspects of design. Soon after I transferred to SNC. I learned how to use various digital art programs including Final Cut and Photoshop.
Since graduating high school, I’ve dabbled in almost every medium of art from printmaking to photography. I’ve always loved painting. A recreation I painting of Van Gogh’s “The Poet” was placed in the 2011 SNC student Art show. The piece “Van Varga” just so happened to win one hundred dollars. I participated in the 2011 Fall JAPR show. The piece I presented “University of Merjersy” was images accompany by an audio tour. It was the first time I used comedy in my art to convey a deeper meaning. The show was a venue that articulated how people propitiate an image of how they want to be perceived.
Even though I want to incorporate mixed media in many of my works going forward. I think it’s essential to keep humor in most of my work. I feel that comedy is one of the best venues to explore social, political, or economic issues. My art is a direct extension of my ideology. Being kind of a comedian, I feel I connect best to my work when I try to bring some of my humor into it. As an artist it’s important to be able to connect to your art and know where it’s coming from. Hallow art, where there is no clear meaning, isn’t art at all. My art has a soul, or a part of my soul. My art has meaning, it has personality, and it has life.
My work examines the disconnect between the real world and our subjective observations of it. Through sequencing and narrative, I address the way that individuals create states of mind for themselves, and how these layers can color everything that they look at. I tell stories about a world altered by perceptions, emotions, and anxieties. Everyday events are intensified and viewed through a microscopic lens. I am trying to create a world that is affected by our observations of it, that manifests our interpretations of what we see. I’m very interested in what happens when a private thought or feeling is pushed into a public space. My work explores the things that we hide, the thoughts and feelings that we can’t communicate, and the layers between what we see and how we see it.
Monday, November 14, 2011
Artist statement ROUGH draft
Lately I have been very interested in introspection and the female form. My installation work deals with basically getting to know yourself, through your freckles. Exploring your body in ways you have not before searching for these spots of pigmentation. In a way if your body was a night sky it’s freckles are your constellations.
I am fascinated by water and liquid. What it feels like to be weightless or suspended, or what one thinks about when they are underwater has sparked my curiosity. Large bodies of water represent the deep realms of unconsciousness, which is a theme present in my work.
I use animals in my ceramic work, because I am attracted to what it means to anthropomorphize. I like how animals can be archetypes for human traits, or what we think of when we contemplate certain animals.
Sunday, November 13, 2011
Thursday, November 10, 2011
2. Bring digital files of your recent work – going back as far as any material you'd want to include in your online portfolio.
Next week I'll want you to also produce a short statement about a recent body of work – your JAPR or your BFA show, depending on what track you're on.
I do like the ending of his artist statement... i sort of buy into the BS and don't mind it. i think being able to talk about your work in this way is interesting and job well done.
Glenn Arthur's facebook page: about me. Artist statement?
Autodidact artist. Imperfect perfectionist. Art Nouveau and Neo-Victorian enthusiast. Hopeless romantic.
Fashion Blog, contact them for contributing. link above.
Conde Nast. Job Opportunities. Production Director NY
LA models. be discovered. Photographer Open call Thurs 3-4 pm
Tuesday, November 8, 2011
Also, bring digital documentation of your strongest recent work (including pics of the JAPR work, for those who showed at JAPR).
Thursday, November 3, 2011
An interview with cartoonist Anders Nilsen, author and illustrator of Big Questions, Dogs and Water, Monologues for the Coming Plague, and other stories. (You can check out his work here.)
You studied painting and installation in art school. What prompted you to shift into making comics? What is the appeal of the comics medium?
Sometimes things that make sense in art school make less sense in the real world. Comics allowed me to connect to people more immediately, somehow. It was also the medium I'd been closest to as a kid, and probably had the best intuitive understanding of. When I found it again it was a bit of a revelation.
I understand that you decided to leave graduate school to make comics independently. What prompted that decision, and how did you survive artistically once you left? What were the challenges in establishing yourself?
It was a lot of things. Partly, at that time at the Art Institute in Chicago there were no instructors who understood comics, really. So I was paying a lot of money to people who knew significantly less than me about the medium I was engaged in. Art school is also a funny sort of place. It's extremely expensive, and offers very few useful, marketable skills. So of course the people that end up there are, in many cases, people who don't need to worry about making a living. That wasn't me, and I just felt a little out of place. I also had gone there anticipating a serious conversation about art and art making, and found that a bit lacking, too.
The rhythm and timing of your narratives always feels very natural and spontaneous. How much do you tend to improvise while working?
Work like the Monologues books place the emphasis on improvisation. Big Questions less so. But it's really a matter of degree. Improvisation only really works when there are thousands of hours of practice behind it. The rhythm and timing that I try to get to in my work definitely comes out of that, but it also comes from re-reading a scene several times at different stages and trying to figure out where it needs more or less space. I'm really interested in the fact that silences, or very small gestures can be every bit as important as giant splash pages.
In your work, you use language in a very engaging way. Do you consider yourself more an artist or a writer, or are those distinctions unimportant? Do you tend to begin with words or with images?
Yeah, it's funny, when people say they like the writing in my comics I never really know what they mean. Is that the way I structure my stories, or do they mean the dialogue, the text? I don't really separate them.To me the pictures and the words interact to make a story happen. Sometimes one carries more water, sometimes the other does. I probably start more with images, but certainly not in every case.
Big Questions must have been a massive undertaking. Can you talk a bit about how it began, and what it became? I’m especially curious about the editing and revising process – with a book of over 600 pages, was it difficult to keep everything in order?
It started out just as little gag strips in my sketchbooks when I was finishing up my undergrad, working on a giant installation for my thesis show. They were a something of a counterpoint to that stuff. Over time their little conversations turned from gags into something resembling a story and they began to differentiate into distinct characters. And I decided to go with it. For the next twelve years.
Once the story was done I pretty much immediately turned around and read through the whole thing and started making notes about changes that needed making. And spent about five months making them. Moving word balloons, adding a panel here and there, straightening panel borders, clarifying conversations. I drew one or two entirely new scenes in the middle to flesh out a plot line that hadn't quite gotten its due. The editing process was actually pretty grueling. It's the one time over the last 12 years where I actually started kind of hating it. But it was necessary, and I think made a better book.
There is a marked difference in style between Monologues for the Coming Plague/Monologues for Calculating the Density of Black Holes and your other projects. How did the stylistic differences in Monologues come about? Was there a change in your process while working on them, as compared to other projects?
As I got deeper into Big Questions (and eventually Dogs and Water as well) my way of working slowed down and got more concerned with craft, and I started missing the more off the cuff way of working that the work had started with. The Monologues books were a way of getting back to that.
How does it feel to be finished with Big Questions? Do you think you might undertake such a large project again in the future?
Well I never meant to undertake such a large project in the past, so my intentions at the moment may not bear too much on the question. I have a few smaller projects to finish up in the next year or so. After that I do intend to start another proper graphic novel. Honestly I hope it doesn't go to 600 pages, but we'll see.
You’re in the middle of a book tour to promote Big Questions. How is that going? Do you enjoy the promotional aspect of art-making?
It's totally amazing, gratifying, humbling...and completely exhausting. I just got back from the UK and France, and have been on the road for almost all of the last two months, and I don't think I've ever been this exhausted. A lot of the events,though, have included a little slide show and reading and then some Q&A afterward, and those are always awesome. Comics is pretty solitary, usually. It's great to actually have a conversation with a bunch of readers in real time once in a while.
You are currently based in Chicago. Does your environment have any influence or effect on your work?
Not Chicago.I think the upper Midwest, has, though. I grew up in Minneapolis and spent time outside the city as a kid. That landscape looms, I think, pretty large in my work.
Have you ever had a specific demographic in mind?
No. Curious, thoughtful people who read.
One goal of this Advanced Studio class is to gain some understanding of how artists balance their work and their lives. Obviously this is something we will have to learn for ourselves individually, but I’m curious about how you have structured your life in order to do the sort of work that appeals to you. Is art-making a constant aspect of your life, or is there a separation between work and play?
It's all work, it's all play. The trick is to make it pay.