I have really been interested in looking at minimal conceptual art lately. Partially because aesthetically that seems to be what I am into and partially because I have been making my students read all about conceptual art and photography. Which is of course totally exciting half of them and totally confusing/overwhelming half of them.
Anyhoo all of this led me back to Hanne Darboven's work. I looked at work quite a bit in graduate school when I was doing some serial text work but again am drawing to the simplicity of concept and the beauty of the hand made mark.
You know that moment in the studio when you know what you are doing is a disaster technically but you simultaneously know it is an exciting moment and it is totally taking you somewhere good, really good.
I think I might be there and I feel like I can breathe for the first time in weeks.
I will never stop loving and obsessing over this work.
I saw the gorgeous work of Alyssa Pheobus in the fall at an open house tour of a big collector and immediatly fell in love. Alyssa uses graphite and text to reference textiles in her large scale drawings...
So many wonderful things about the work, the words are powerful, the textures she creates remind us of domesticity, and her choice to often leave things unfinished allows the work to have a powerful ambiguity.
I am so glad I got reminded of her work this week.
Since I am oh so into collection and text right this moment this seemed like good work to revisit. The text one seriously blows my mind.
If you knew the state of my brain you would be impressed that I am posting so brief in words but abundant in inspiration. This is the work of NY based artist Nari Ward. I had never heard of him before this morning but his shoe lace installations drew me in and I looked further.
I love large word installations and I love reclaimed material so even though conceptually he is dealing with much more political statements than I, I am totally digging his work.
Love this piece!! and the below piece is powerful and totally creepy.
His gallery describes his work... "Ward’s dramatic sculptural installations are composed of systematically collected material from his urban neighborhood. By revealing the numerous emotions inherent within found everyday objects, Ward’s works examine issues surrounding race, poverty, and consumer culture."
His recent work has used textiles more often incorporating shoes, shoe laces, and vinyl.
See more of his work here or if you are in Philly see it in person here.
insane over these works by Jen Bervin. I feel like maybe she was in a show of mine or a show with me as her name is oh so familiar but her work is not. I love the connection to language, literature, text and thread. So many oh so good things.
I am actually having some progress in my studio. My fall is so busy with work, child, art and teaching that I just resigned myself to let go and so far that actually seems to be working. I am still totally confused as to what and where my work was going but it is going so I guess for now that is just going to have to do.
I am working on a number of things that are maybe experiments that never go anywhere or maybe something real that develops into something important for me. Above is a cut paper work piece. I have 2 more words of it done and since that is all I can do in one studio day without my hand being super pissed off at me it is slow work in progress. Since I currently only have one real studio day a week it is very slow going but I am feeling quite ok about that.
Due to an opportunity that has come up for me and my work, waiting to announce until it is confirmed, I discovered the work of Molly Bosley...
my interest was peeked by her embroidery but as I perused her website
they quickly become secondary as her cut paper works are AMAZING.
Her technique of layering the silhouettes adds so much depth to the work...
and her more sculptural dioramas breathe a wonderful life into them. Kind of how when Kara Walker's work is lit.
Molly says this about her work:
is a tangible presence of hands in my artwork... It contains the
imprint of the instrument that crafted it. There is an awareness of the
connection to humans and the mementos they possess. I want to create an
art that is arresting, yet familiar, like a memento you find tucked away
in between the pages of an old book. In an effort to harmonize my media
with my message, I construct work out of the detritus of American
culture, the little things that slip away into junk stores, attics, or
trash bins...The process is instinctive in choosing the images but
structured, layered and designed so the different elements harmonize to
produce an artwork that is wholey nostalgic.
I love the moment in her statement when she sayes how a memento found in an old book is both arresting, yet familiar. As
someone who loves those little discoveries and is quite inspired by
them myself I found those words quite poignant and poetic. And her work
very much manages to strike that balance.
Artist Angela Ellsworth has been getting a lot of attention for her gorgeous and horrifying Seer Bonnets, including a feature in the current FiberArts Magazine.
works from her Mormon background and ancestry to comment on and
critique polygamy, forced communal domesticity, and the idea of sister
wives. The work re-examines the experience of pioneer Mormons. The first
image includes 9 bonnets nodding to Angela's great, great grandfathers 9
detail in her work is amazing as she covers, totally covers the bonnets
with pearlized corsage pins, covering the outside with a pearly
surface, also reminds me of BB's, and the lining with sharp pins, making
them into objects no one wants to wear. Her craftmanship is quite
Her work also includes performances that look quite intriguing these performances include:
solemn sister wives doing the Electric Slide in pastel prairie dresses, hairdos with frontal poufs, and strap-on braids.
She also creates embroideries on found paper napkins, I love seeing the pattern and embossment on the paper napkin.
You can see videos of her performances and many many more works from her archives at her website here.
Yesterday I posted about Sophie Calle's bed
piece- in which she invited strangers to come sleep in her bed- so I
thought it was appropriate to mention a project by the conceptual artist
The Sleepers, Sophie Calle
is a unique and well "ballsy" artist. Her work skirts the line of legal
and crosses over into an unknown territory of voyeurism, intimacy, and
violation. Her work often is very intimate while also being very
removed. For instance in Address Book she calls every person in a
found black book talks to them and works to uncover who the owner is.
Speaking to strangers to discover a stranger. But all the while having
intimate conversation about them. Publishing her findings in the
Or her infamous project Suite Venitienne,
in which she overheard a man at a party in Paris say he was going to
Venice- So she books a ticket and follows him throughout his trip.
Documenting him. All the while he does not know. (until he does and
The list goes on as to how Sophie pushed the limits of intimacy and voyeurism to find greater truths about human existence.
So I really like Josh Greene's response
to her work where he asks Sophie to mail him her bed. He has just
broken up with his girlfriend and wants comfort. So of course Sophie
mails it complete with sheets, pillows, etc. He then slept in the bed
for 6 months corresponding with Sophie about his emotions.