27 February 2015

Feb. 27 Questions


What is provenance and why is it such an important issue in the art world? The Universal Leonardo project, launched in 2005, focuses on the techniques and processes used by Leonardo da Vinci rather than claiming to determine attribution. Why do you think this shift has taken place?

Provenance is the records related to artwork to document its ownership, and (if you're lucky) its production. The Universal Leonardo project is attempting to document work as being Leonardo's based on how it was made -- analyzing the work itself, rather than a potentially broken, incomplete, or falsified historical provenance.



Review the ifnormation presented in Ch. 8 on Marcel Duchamp's work called Fountain (see Fig. 12). If you had been on teh committee that decided what could and could not be exhibited at the American Society of Independent Artists, would you have allowed this work to be in the show? Why or why not? What would have been your criteria for acceptance or rejection?

I'd like to think that I would've called it art, and allowed it to be shown in the show, but in the context of 1917, I probably would've rejected it.  That being said... I do think of the work as art; art is a process of making or allowing people to see something they've never seen before, or seeing something familiar in a way they may not have seen it.  (And when I say "see", I really mean "perceive", because other senses may be involved.) By that definition, Duchamp's Fountain was definitely art, and the fact that we're still talking about 100 years later is as much proof as is necessary.


25 February 2015

Sample press release

FOR IMMEDIATE RELEASE / Friday, February 27, 2015

Senior art student presents capstone exhibit of digital artwork and animation after a 30-year interruption

Show runs March 15-30; Free opening reception set for March 16


Contacts: Patrick Williams, MSUB University Relations and Communications, 406.657.2270


"Just Forget", digital mixed media.

"Cannot Hold", vector graphic

Art student Patrick Williams will present his senior capstone exhibit, "Cognitive Divergence," March 15-30 in the student gallery on the first floor of the Liberal Arts building on the Montana State University Billings campus.

An opening reception, free and open to the public, will be held March 16 from 5 to 7 p.m. Refreshments (sadly, non-alcoholic) will be served.

Williams' art education was interrupted when he took a summer job as a graphic artist in 1985, and forgot to quit for nearly 30 years. The digital revolution during that time saw an unprecedented change in the tools available to artists, and Williams changed his skill set and focus along with it.

"I originally planned a concentration in drawing, with a lot of photography and sculpture thrown into the mix. Then, as digital tools appeared, and I was required to learn them for my career as a commercial artist, my fine art began to use more new media and fewer traditional materials. When I finally decided to return to school and finish my degree, and discovered that a new media concentration was an option, the choice was obvious."

The exhibition features two distinct styles.The first, a series of intensely-complex vector graphics and animations, are strongly influenced by the Op Art movement in the 1960s, and the work of Bridget Riley in particular. The second is a series of more personally emotional pieces, which combine 3-D rendered imagery, photography, and digital painting, all layered onto images of rust and corrosion.

"The two styles of art reflect two very different aspects of my personality and creativity. The Op Art-influenced pieces are an exploration of the creativity from the rational, analytical, and mathematical parts of myself -- even though artists are rarely mathematically-inclined, that part of me has always needed a creative outlet, just as much as the more traditionally emotive artist part of me."

Both sets of images are unified by the way they explore the boundaries of perception, where depth and motion and color are often filled in by the mind where they don't actually exist. "I try to find the places where years of experience seeing have taught us to interpret patterns of light and dark as indicative of a specific type of motion or depth -- and then to change the rules, so the brain still sees those things, even when faced with a reality where they don't exist."

Sample gallery call

(A much better-formatted version was turned in on paper.)

Call for Artist Proposals

The Northcutt Steele Gallery, located at Montana State University Billings, is currently accepting proposals for exhibitions. The gallery provides four shows per year to showcase professional artists on a national scope; when possible, these artists are brought in to present talks about their work and experiences, and to conduct workshops for MSU Billings students and staff as well as the general community.

Who

Professional artists working in any medium. There are some space and size constraints; artwork cannot be larger than 8 feet in any dimension. Preference will be given to artists who are willing to speak and conduct workshops related to their art.

What

Artists should submit:
  • a brief introductory letter or proposal
  • images of 12-15 works (or 3-5 installations)
  • an image list with thumbnails of each image as well as the title, date, dimensions, and media
  • a biography, CV, and/or résumé


When

The deadline for submissions for shows in the 2016-2017 school year is May 1, 2015.

Where

Proposals can be submitted online at
http://canwereallydothis.com
or by mail:
Northcutt Steele Gallery
Liberal Arts Building, 1st Floor
1500 University Drive
Billings, MT 59101

How

Images should be provided electronically via the online submission form, or on CD, DVD, or USB drive by mail. They should be in RGB JPEG format, and at least 1200 pixels in each dimension. Image list with thumbnails, introductory letter or proposal, and biography/CV/résumé should be in PDF format for online submission, or printed on standard letter-sized paper, single-sided, for mail submissions.

Questions?

For more information or clarification, please contact Dr. Leanne Gilbertson, Gallery Director, at 406-657-2903, or via email at leanne.gilbertson@msubillings.edu