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Studio Visit with Young Suk Suh

Create things where people have no idea what it is. That's totally okay. Don't try to connect everything - life experiences are random things they don't necessarily connect or make sense. I don't have to try and make sense of everything. People worry about understanding what they're doing so that they can repeat it later -recreate it. Don't worry about that - the work is bigger than me so I'll have to create things I don't comprehend,

I'm very adaptable. I may think lots of people are like that but they aren't. My life is art. I live art. Just move in any direction - doesn't matter as long as I'm moving and doing art. Whatever I do is a valuable contribution ans it's meaningful.

The studio is my canvas.

He finds the graffiti marks and the blue buff paint the most interesting.

I like to be overwhelmed. Overwhelm myself before I overwhelm anyone else.

Express the actual experience of the struggle. Memory is random, it doesn't come together and it really doesn't make sense. Focus on dealing with clashes not trying to organize.

Tuymans quote I can't fin it but essentially he says that it's about dealing with the problem and not solving it.

The key is make that practice sustainable and make it vital as possible.

On the Constants movie:

Try listening to it without sound. The images want to tell a story but the narration most of the time hijacks it. I don't have to explain everything. Focus on the abstract images of my work. The narration helps you lose focus of the tempo of the images themselves.

http://www.youngsuksuh.com/

#studio visit #mfa

m.shemchuk - im looking this bc im looking at texture

#artist

glenn ligon on art 21

#art

Studio Visit with Glen H 04/26/13

Artist whose shows are titled "Chapters" - based on obsession at the moment.

List (orange piece)

Diagram to help direct audience (orange piece)

Themes of story - that make it universal or maybe not. Core

#studio visit

Studio Visit with Catherine Wagner 4/24/13

Formally working for her (the orange story piece).

Use all aspects in art as an experience incorporated into the work - photos -tape.

Repurpose -dont throw anything out.

Pragmatic - Creative to gesture

Read Joe Bueys writing

Detrist

Dailiness of living

Pragmatic supports reversal to creative gesture

Look into Wolfgang Tilmans dairistic work.

#studio visit

Studio Visit with Will Rogan 4/26/13

Simplify - condense down to one image. Maybe just the tree.

Human condition

Do what I want

Feels right

I already know

Meaningful

Read Function of the Studio by Daniel Burea in October magazine from 60s or 70s

Parkette Magazine

Artists to look into:

Krink guy

Chris Johanson

Tim Barber

Aisha McCarthy

Fargus Freely

Rich Long

Hamish Fulton

#studio visit

c128-blog-blog

Barron Storey Interview

“Narrative is stronger than ever.”

#barron storey

jerry-gao-deactivated20140419

My school, Mass Art, had Barron Storey as a guest speaker tonight, most well known for his cover of Lord of the Flies, the one with the boy staring out at you, his hair all tangled up in foliage with flies next to his face. That man exists on another level. The talk was good, he rambled about everything, but there were two big ideas that I took away:

1. “Lower the claim, raise the proof.”

The Claim is the presentation - the layout, the technique, execution, blah blah what have you. The better all of these things are, the bigger the “claim” you’re making. I thought his use of the word “claim” was pretty brilliant. Making a claim means you’re demanding something of your audience, in terms of asking them to believe that your picture presents a scenario that could actually happen, or asking them to have some kind of emotional reaction to your work, whatever exchange that occurs. The higher the claim, the more you’re asking, the more hype your piece is generating about itself as the viewer looks at it, the more difficult it will be to live up to that hype… and the more proof you will need.

The Proof is the idea, in terms of your genuine experience with it - for example, if you make a picture about homelessness but have never been homeless, never been close to a person who was homeless, your picture has no backbone. It has none of those feelings to feed the fire that forged it in the first place, and it’ll end up making your work shit, because someone else out there will have that personal experience, will have that proof, and that’s the difference that will make their work better than yours (I made work about homelessness two years ago, and it sucked). But if you make a picture about something that you feel truly passionate about, that you’re truly knowledgeable about, the proof is there.

2. No one gives a shit about your work.

He said this idea of his was very controversial, which I thought was hilarious. It’s so spot on. People in the arts are narcissistic as fuck. Basically, what we think is that our picture ideas are so brilliant and special that other people will want to exchange their time and effort, in the form of money, to buy them. We offer such an abstract service. I’m usually hypercritical of my own work and I’m wary of listening to any compliments from the teachers who are paid to compliment us. I’m also uncomfortable about marketing my own work, which is going to suck for making money. He said that the only thing we can do is present something that makes the viewer rethink the way he/she lives life. That reminds me of one of my favorite quotes of all time by Chuck Palahniuk, which I’m gonna post in a minute because I definitely do give a shit about that. With regards to this, I feel like I only wanted to make that kind of life-changing connection with another person when I was fresh to art school, whereas now, I consider so many other factors that this ideal often gets pushed out of the picture. Namely, I need to make money with this education.

It’s giving me a headache to think about how I can reconcile these ideas with my current work. I think I’m already doing a bit of it, and it’s a perfect endgame to aim for, but at this time in my life, I just have pragmatic considerations that outweigh those lofty ideals.

I think this post rambled about as much as he did.

#barron storey

Studio Visit with Amy Franchescini 4/4/13

-Try parameters giving my self a self imposed set of rules. Obstructions. The film 5 obstructions.

-Get to the excited modes

Then we started talking about social practice:

-Its situational

-create counter narratives

-it finds the common ground

-how do we interpret it or jar it for a sec

-whats that situation to which i want to respond

-diaries - write down observations and thoughts

look up:

francis alys

luc tuymans

aaron tool?

katarina seda

amy balkins interview where she talks about sci fi

bernedette moscou - project in gent, belgium - S.M.A.K.

#studio visit #Art

Studio visit with Glen H on 4/2/13

On looking at my cable which he called "laundry list" "clothes line" he said work on describing the factual side and the emotional side.

Rearrange the pieces - same notes, different song.

Collage, constellation, arrangement

Make a choice - clear or complicated

Keep it mysterious, dont give away too much.

Do a more complicated narrative - it'd be better if it was something with a personal charge.

Components - throw in actual objects - like a magazine.

Scale - could be determined by the weight of the moment/story (like word clouds)

Or maybe do a narrative based on objects that enteres my life. (I gotta think about what this one means)

Take a look at:

Martin Kippenberger

karl haendel

#studio visit #Art

Christopher wool

#artist

In 1965, when Hesse found herself in a difficult creative place after a year in Germany, LeWitt wrote his friend a long letter of encouragement:

Dear Eva,

It will be almost a month since you wrote to me and you have possibly forgotten your state of mind (I doubt it though). You seem the same as always, and being you, hate every minute of it. Don’t! Learn to say “F*** You” to the world once in a while. You have every right to. Just stop thinking, worrying, looking over your shoulder wondering, doubting, fearing, hurting, hoping for some easy way out, struggling, grasping, confusing, itching, scratching, mumbling, bumbling, grumbling, humbling, stumbling, numbling, rumbling, gambling, tumbling, scumbling, scrambling, hitching, hatching, bitching, moaning, groaning, honing, boning, horse-shitting, hair-splitting, nit-picking, piss-trickling, nose sticking, ass-gouging, eyeball-poking, finger-pointing, alleyway-sneaking, long waiting, small stepping, evil-eyeing, back-scratching, searching, perching, besmirching, grinding, grinding, grinding away at yourself. Stop it and just DO!

From your description, and from what I know of your previous work and you [sic] ability; the work you are doing sounds very good “Drawing-clean-clear but crazy like machines, larger and bolder… real nonsense.” That sounds fine, wonderful – real nonsense. Do more. More nonsensical, more crazy, more machines, more breasts, penises, cu***, whatever – make them abound with nonsense. Try and tickle something inside you, your “weird humor.” You belong in the most secret part of you. Don’t worry about cool, make your own uncool. Make your own, your own world. If you fear, make it work for you – draw & paint your fear and anxiety. And stop worrying about big, deep things such as “to decide on a purpose and way of life, a consistant [sic] approach to even some impossible end or even an imagined end” You must practice being stupid, dumb, unthinking, empty. Then you will be able to DO!

I have much confidence in you and even though you are tormenting yourself, the work you do is very good. Try to do some BAD work – the worst you can think of and see what happens but mainly relax and let everything go to hell – you are not responsible for the world – you are only responsible for your work – so DO IT. And don’t think that your work has to conform to any preconceived form, idea or flavor. It can be anything you want it to be. But if life would be easier for you if you stopped working – then stop. Don’t punish yourself. However, I think that it is so deeply engrained in you that it would be easier to DO!

It seems I do understand your attitude somewhat, anyway, because I go through a similar process every so often. I have an “Agonizing Reappraisal” of my work and change everything as much as possible = and hate everything I’ve done, and try to do something entirely different and better. Maybe that kind of process is necessary to me, pushing me on and on. The feeling that I can do better than that sh** I just did. Maybe you need your agony to accomplish what you do. And maybe it goads you on to do better. But it is very painful I know. It would be better if you had the confidence just to do the stuff and not even think about it. Can’t you leave the “world” and “ART” alone and also quit fondling your ego. I know that you (or anyone) can only work so much and the rest of the time you are left with your thoughts. But when you work or before your work you have to empty you [sic] mind and concentrate on what you are doing. After you do something it is done and that’s that. After a while you can see some are better than others but also you can see what direction you are going. I’m sure you know all that.

You also must know that you don’t have to justify your work – not even to yourself. Well, you know I admire your work greatly and can’t understand why you are so bothered by it. But you can see the next ones and I can’t. You also must believe in your ability. I think you do. So try the most outrageous things you can – shock yourself. You have at your power the ability to do anything.

I would like to see your work and will have to be content to wait until Aug or Sept. I have seen photos of some of Tom’s new things at Lucy’s. They are impressive – especially the ones with the more rigorous form: the simpler ones. I guess he’ll send some more later on. Let me know how the shows are going and that kind of stuff.

My work had changed since you left and it is much better. I will be having a show May 4 -9 at the Daniels Gallery 17 E 64th St (where Emmerich was), I wish you could be there.

Much love to you both.

Sol

#letter #Art