#artcrit

[daniellechenettedraws]

my work is featured today/this week on Bad At Sports, with a terrific write up by Krystal DiFronzo, who gets me!!!!!!! 

Read my phreshest comic to date HERE

http://badatsports.com/2017/bad-at-sports-sunday-comics-with-danielle-chenette/

[artistopencalls]

🖤➡️ @mdp_info 📣 We’re pleased to announce our call for applications to Dialogues 2022; 🖤➡️ https://linktr.ee/MDP_info ⬅️👀 a 14-week programme of critical exchange, group workshops and one-to-one mentoring for up to twelve artists. 📣 Dialogues will focus on nurturing your core ideas and ambitions, helping manifest these within the making of your work. Starting in April 2022, each artist will benefit from three group crits, two 1-hour one-to-one mentoring sessions and three group workshops. Experienced mentor and curator Mark Devereux will lead each session; offering tailored and critically engaged developmental support. Dialogues is an online programme for artists that may be developing a new body of work, building a new project or working towards an exhibition or commission. ⏰ Application deadline: Sunday 13 March 2022, 5pm 👀 Find out more and apply via our website (link in bio) 📷 sketch for new work, Tom Lambert (@hologonart), 2022 . . . #Dialogues #ArtistDevelopment #ArtistDevelopmentProgram #Critique #ArtCrit #ArtCritique #Art #Artist #ArtOpps #ArtOpportunity #ArtOpportunities #ArtsOpportunities #Artwork #ArtistsOnInstagram #ArtistMentor #ArtistMentoring #OnlineCourse #ArtCourse #CallForApplications #Workshops #ArtWorkshop #Conversation #SupportingArtists #NewOpportunities #NewOpportunity #Online (at Mark Devereux Projects) https://www.instagram.com/p/CZczED3MR0w/?utm_medium=tumblr

[thisisnotacoverletter-blog]

Sometimes it is the things that you don't overthink that end up being poetic.

[christenclifford]

Thank you @_zoe.c_ for having me as a visiting artist at American University. I can’t wait til tomorrow to see their work in the museum. Four days getting to know your students and sharing my work is 💙 Now I am watching Zuckerburg on Cspan in the hotel. Z used the phrase “affirmative consent” about settings on FB. #art #teaching #teachingartist #guestarist #visitingartist #artcrit #

[tuangstudio]

View this post on Instagram

Explanation #artcrit #critique #session #dmapsgworkshop2017 (at Bacc หอศิลปวัฒนธรรมแห่งกรุงเทพมหานคร)

[markschoening]

#artcrit #highpointjeromefellowship #printmaking @highpointprints exhibition opens May 19th (at Highpoint Center for Printmaking)

[artcritsubmit]

“Daemon of Despair” by Nippy Nugsbussoms (215.9 mm × 279.4 mm) Pen

My critique… The first thing I’m going to talk about is picture quality. I know that capturing a good image of your piece is a pain but in this digital age it is absolutely imperative. If you are ever wanting to sell or show your work it is as essential as making a good piece to begin with. There are tons of resources on the Internet about how to do this but if anyone wants my how-to, send me an ask. Ok next, I think this piece is very imaginative and you did a great job creating believable proportions. Proportion-wise the only thing that needs help is the horn on the left. Right now it looks more like a jester’s hat than anything else. Take some time studying goat horns and you’ll be able to come up with something much more interesting. I especially like  the way you’ve drawn the bottom teeth. It seems like there should be more to discuss about this but unfortunately most of the details of this piece have been obscured. Be sure to submit this again if you ever get a better quality image!

[kritike-e-blog]

Two Urns

125 N Raymond Ave, Pasadena CA 91702

By Anne Marie Karlsen

   On the busy corner of Raymond Avenue and Holly St in Pasadena, California, there is a brick building that, like so many others on the same drag, hosts a retail shop with tastefully curated goods displayed prominently through oversized, first-floor windows. The arrangement is so much like its neighbors, that the building is easily dismissed by drivers hurrying by or the commuters awaiting the bus across the street. But to the pedestrian passersby, the east wall of 124 N Raymond Avenue is impossible to ignore because framing the store and towering fifteen feet over the street, almost twice the height of the giant windowpanes, are two elaborate glass and stone mosaics by Anne Marie Karlsen titled Two Urns (2009).

     If you review Karlsen's body of work, you will notice large gaps between her solo and group exhibitions. One might be tempted to presume this is a sign of an inactive artist, but quite the opposite is true. Karlsen's rich career is highlighted by her production of over 27 public works and consultation on numerous others. Her parallel career as a college art professor focuses on the importance of the outdoor accessible, hardy, and tactile venue for fine art. These elements are clearly at play in Two Urns, which contain – perhaps even calls for – the opportunity to engage tactilely and without reserve. The elements that make up the mosaic alternate between smooth & rough, round & rectangular, lustrous & flat. The individual tiles even interact with the natural aspects of the day, reflecting light differently at different times and throwing off different temperatures according to the kind of stone. The work is arguably enjoyable by those with and without sight; and so it goes for all walks of person, from an ignorant youth running her fingers along a random wall to a studied adult appreciating the neighborhood flourishes.

   The mosaics converse on many levels with their setting, including engaging the architecture next door. Embedded in the overall form of the pieces are shapes and design that are familiar to the Raymond Theater. White glass tiles are distinctly contrasted against rich orange and green hues and in their unique form, which imitate the flourishes of actual urns in the Raymond Theater design. Blue in the mosaics, though more subdued by the green than the bright white could ever be, is also used exclusively for star motifs to further juxtapose the greater masses of warm and and cool areas, which are filled only with squares and marble orbs. The great gilded panels are joined in and through masonry sharing with the common-place red brick structure they are mounted within. In these ways, the preexisting architectural design is perpetuated on the city block but modernized and offering a contemporary answer.

  Unlike the variety of fragile media within the walls of a contemporary art gallery, Karlen's mosaics retain their bright colors, texture, and relevance despite being fully exposed to the elements and populace. Karlen's Two Urns simultaneously elevate a commonplace craft and bring down to earth the values esteemed in fine art. The intent of her work, as a service to the community, could only be achieved through successful craftsmanship and meaningful subject matter; she accomplishes this by being visually reverential to the locale and physically, indiscriminately engaged with its citizens.