Semester I: Bibliography and Summary

Bibliography:

Bayrle, Thomas. Vitamin P: New Perspectives in Painting. Phaidon, 2002.

Beckley, Bill and David Shipiro, eds. Uncontrollable Beauty: Toward a New Aesthetics. Allsworth Press, NY. 1998

Bell, Julian. What is Painting? Representation and Modern Art. Thames and Hudson, 1999.

Carlson, Marvin. Performance: A Critical Introduction. 2^nd Edition. Routledge, 2004

Elger, Dietman. Translated by Elizabeth M. Solaro. Gerhard Richter: A Life in Painting.
University of Chicago, 2009.

Feagin, Susan and Patrick Maynard, eds, Aesthetics. Oxford University Press, 1997

Goldwater, Robert John and Marko Treves. Artists on Art, From the XIV to the XX Century: 100 Illustrations. Pantheon Books, 1987.

Harrison and Wood. Art in Theory: 1900-2000. Yale University Press, 2004.

Mathieu, Caroline, Chief Curator. The Guide: Musee d’Orsay: The Guide to the Collections. Ministère de la Culture et de la Communication, Editions de la Réunion des musées nationaux, 1987.

Richter, Gerhard and Hans-Ulrich Obrist. Gerhard Richter: Writings and Interviews 1962-1993. MIT Press, 1995.

Robertson, Jean and Craig McDaniel. Themes of Contemporary Art: Visual Art After 1980. Oxford University Press, 2005.

Ruskin, John. Lectures on Art. ARC Manor, Rockville, MD. 2008

Stiles, Kristine and Peter Selz, eds. Theories and Documents of Contemporary Art: A Sourcebook of Artists and Writings. University of California Press, 1996.

Taylor, Brandon. Contemporary Art: Art Since 1970. Pearson Prentice Hall, 2005.

Van de Wetering, Ernst. Rembrandt: The Painter at Work: Revised Edition. Amsterdam University Press.

New Yorker. October 6, 2008

Harpers. July 2001

Art in America. December 1996. Volume 84. Issue 12. p.98 3/8

Semester Summary:

This body of work exhibits challenges depicting the figure in emotive environments. Because I was coming from a more sculptural background, I found that I needed to develop my figure drawing ability. After many figurative sketches and paintings, I began to understand the intricacies of the human form. I quickly learned I had a number of technical issues that still needed resolving. Because I had not worked much with watercolor, I needed to learn how to save the light areas and control the spontaneity of the paint. In exploring watercolor, I separated myself from the figure for a while. I studied the technical characteristics of watercolor by working with different colors schemes and adding many transparent layers upon layers on a variety of watercolor paper. I started to save light by using a resist and began creating subtle textures with a granulation medium. When returning to the figure, I found that I had worked my paintings too much. In trying to cut back on the amount of visual information exposed, I intentionally left unresolved areas with bleeding paint. I began to think differently. The next step in my process was becoming more intentional with the background. I worked on having more purpose on creating the environment by adding too much information and then subtracting. I learned that brushstrokes matter and can always be detected. I carefully recorded my process and the results on the backs of paintings. In September, I reevaluated my studio space, getting rid of any excess visuals and non linear connections. I added plywood to the walls and specific lighting on the ceiling. It became a place of solace – where ideas began to flow. As a result, I was able to expand the size of my paintings and work on numerous images at one time. I also began to dapple with a variety of ways to put the figure in space. I used a photo projector to have something to push against when beginning my painting. I struggled with the non-figurative space. I set up a spotlight in the studio and had live models come in to pose for photo shoots. I tried to be careful to not fall into the common trap when using photographs of over blending. I wanted to keep the painterly quality of the image. I am not sure I succeeded. As I became more pregnant, I began to miss the intricacies of acrylic and oil paints. I wanted to try something new. I picked up the acrylic paints again. I played with heavy bodies, modeling paste, sand, and matte medium. I stepped away from the intricate watercolors and started using different solutions to achieve my objective of representing the figure in an emotional space.

In retrospect, I need to further work on my composition, learn how to better manipulate photos (if I choose to use them as reference) by studying the clarity, focus and exposure of each image. I also need to understand that the environment in which I shoot the photographs will help with the form of the figure when translated into a painting. I need to check if the light and the form are consistent throughout the artwork as well as making sure the edges are functioning throughout the piece as long unbroken edges do not work. As always I need to make sure I do not tighten my brushstrokes too much.