Monday, March 29, 2010
Sunday, March 7, 2010
First Friday
CAP – 3/5/2010- 6pm -9pm
First Friday in Wilmington
On Friday March 5, 2010 I attended First Friday in Wilmington and visited the DCCA, the NWAA exhibition, and the Shipley Studios. The DCCA had four new exhibitions up. One of which entitled Wasteland included a variety of new paintings by Andrew Wapinski. These were mainly abstracted color field paintings of predominantly a gold hue covered with a thick top layer of resin. This created a very reflective and glass like surface on the paintings. Another exhibition of the work by artist Hong-Wen Lin, called Journey Through Time, consisted of sculptural objects made of different industrial type materials and metals. In one exhibition space, there was an audiovisual installation consisting of four projections, one on each wall. The projections varied from abstractions of colors to a window pain with melting ice to a continuously panning shot of the sky and the final was of still images of nature. The installation was entitled Time-Image, and created by the artist Lee Arnold. My favorite of all the pieces at the DCCA was the audio installation, Terrain, by artist Julianne Swartz. This piece consisted of over 40 different speakers, which were suspended from the ceiling via a web of multicolored wires. As you traverse through the space you can hear the different sounds emitting from the speakers. These included, breathing, humming, and whispered messages of love in English, Spanish, Korean, Hebrew, Polish, Croatian, Japanese, Greek, French, and Chinese which melded together to generate sounds like blowing wind, rushing water or rustling leaves.
The NWAA exhibition on West 5th street consisted of two rooms with various types of works from members of the organization. These ranged from 2-diminsional works, to interactive sculptures, and even some video projections. Students, alumni, and even faculty from the University of Delaware contributed work to the exhibition. Though the exhibition was not organized around one theme, it was still an interesting show. The works created their own dialogue between one another.
Shipley Studios just opened up a couple blocks away from The NWAA space. It contains studio apartments for artists to rent out as well as a basement and ground floor exhibition space. While at the Studios, a group of gallery goers were lead on a guided tour throughout the space. The space will be completed and start exhibiting work by the end of April.
First Friday in Wilmington
On Friday March 5, 2010 I attended First Friday in Wilmington and visited the DCCA, the NWAA exhibition, and the Shipley Studios. The DCCA had four new exhibitions up. One of which entitled Wasteland included a variety of new paintings by Andrew Wapinski. These were mainly abstracted color field paintings of predominantly a gold hue covered with a thick top layer of resin. This created a very reflective and glass like surface on the paintings. Another exhibition of the work by artist Hong-Wen Lin, called Journey Through Time, consisted of sculptural objects made of different industrial type materials and metals. In one exhibition space, there was an audiovisual installation consisting of four projections, one on each wall. The projections varied from abstractions of colors to a window pain with melting ice to a continuously panning shot of the sky and the final was of still images of nature. The installation was entitled Time-Image, and created by the artist Lee Arnold. My favorite of all the pieces at the DCCA was the audio installation, Terrain, by artist Julianne Swartz. This piece consisted of over 40 different speakers, which were suspended from the ceiling via a web of multicolored wires. As you traverse through the space you can hear the different sounds emitting from the speakers. These included, breathing, humming, and whispered messages of love in English, Spanish, Korean, Hebrew, Polish, Croatian, Japanese, Greek, French, and Chinese which melded together to generate sounds like blowing wind, rushing water or rustling leaves.
The NWAA exhibition on West 5th street consisted of two rooms with various types of works from members of the organization. These ranged from 2-diminsional works, to interactive sculptures, and even some video projections. Students, alumni, and even faculty from the University of Delaware contributed work to the exhibition. Though the exhibition was not organized around one theme, it was still an interesting show. The works created their own dialogue between one another.
Shipley Studios just opened up a couple blocks away from The NWAA space. It contains studio apartments for artists to rent out as well as a basement and ground floor exhibition space. While at the Studios, a group of gallery goers were lead on a guided tour throughout the space. The space will be completed and start exhibiting work by the end of April.
Carrie Anne Baade
3/4/2010- 5pm- 6pm
Carrie Anne Baade
On Thursday March 4, 2010, visiting artist Carrie Anne Baade came to the University of Delaware to talk about her work. She is inspired by and enjoys the art from the 1400s to 1800s. Baade said that when she was young her parents had a book of all the art in the Louvre, that which, she loved to look through. She quotes this book as being the source for her interest in the master artists and figurative painting. However, she attributes her ‘displaced contemporary sense of time’ also on her deep appreciation of historical art. Though she was admitted into the School of the Art Institute of Chicago at age 15, she was met with much opposition. This was because at the time most painters were working in a more abstract vein.
Before graduate school at the University of Delaware, Carrie talked about how she held various jobs and traveled. One of the main reasons she traveled was because she felt guilty about not paying attention during her survey art history class. This was the catalyst for her trek across the world visiting every piece of art and architecture she would have encountered in the survey class. Besides traveling she held jobs at venues such as Sam’s Club and continued to create her own as well as commissioned work on the side. Carrie mentioned how she was surprised about how certain commissions would end up “compromising what you are doing”. In a way she thought she would never contribute to kitsch, however in the end she did. It was around this time that she decided to go on to graduate school.
During her time at the University of Delaware, she was still being met with conflict in regards to her figurative work. Nevertheless, she continued to work in a realist style. She even began to take Hilton Browns color mixing classes, learning more in depth on how to work in egg tempera and oil color mixing. She loved how the materials would predict how the work would end up looking like.
On her quest to figure out her own style and language in painting, Carrie talked about how she had to return to where she began. That was the refrigerator door, the place where she had her first art exhibition. On her refrigerator she had these magnets, which were given to her by a friend. These consisted of fragmented imagery through out art history. She began to play with these magnets and move them around her refrigerator placing them on top of other photographs. She liked how this looked and decided that she would go through art history and cut out fragments from various paintings and use them to create a collage. Her process begins with obtaining multitudes of imagery form preexisting paintings, and then classifying them and placing them into files, for example “Madonna with childs” and “ugly baby Jesuses“. She would then go through these files and take images to create collages. These collages served as the source image from which she would paint. Her paintings were done in an extremely realist manner employing trompe l’oeil so that the collaged elements would look as though they were actually collaged onto the canvas. She loved this effect because not only was she taking quotes from art history but also she was using her self as the main figure to create a sort of biographical story. She enjoys imagination and dream paintings and was extremely excited, post graduation to find herself amongst a community of artists creating in a similar vein.
Carrie Anne Baade
On Thursday March 4, 2010, visiting artist Carrie Anne Baade came to the University of Delaware to talk about her work. She is inspired by and enjoys the art from the 1400s to 1800s. Baade said that when she was young her parents had a book of all the art in the Louvre, that which, she loved to look through. She quotes this book as being the source for her interest in the master artists and figurative painting. However, she attributes her ‘displaced contemporary sense of time’ also on her deep appreciation of historical art. Though she was admitted into the School of the Art Institute of Chicago at age 15, she was met with much opposition. This was because at the time most painters were working in a more abstract vein.
Before graduate school at the University of Delaware, Carrie talked about how she held various jobs and traveled. One of the main reasons she traveled was because she felt guilty about not paying attention during her survey art history class. This was the catalyst for her trek across the world visiting every piece of art and architecture she would have encountered in the survey class. Besides traveling she held jobs at venues such as Sam’s Club and continued to create her own as well as commissioned work on the side. Carrie mentioned how she was surprised about how certain commissions would end up “compromising what you are doing”. In a way she thought she would never contribute to kitsch, however in the end she did. It was around this time that she decided to go on to graduate school.
During her time at the University of Delaware, she was still being met with conflict in regards to her figurative work. Nevertheless, she continued to work in a realist style. She even began to take Hilton Browns color mixing classes, learning more in depth on how to work in egg tempera and oil color mixing. She loved how the materials would predict how the work would end up looking like.
On her quest to figure out her own style and language in painting, Carrie talked about how she had to return to where she began. That was the refrigerator door, the place where she had her first art exhibition. On her refrigerator she had these magnets, which were given to her by a friend. These consisted of fragmented imagery through out art history. She began to play with these magnets and move them around her refrigerator placing them on top of other photographs. She liked how this looked and decided that she would go through art history and cut out fragments from various paintings and use them to create a collage. Her process begins with obtaining multitudes of imagery form preexisting paintings, and then classifying them and placing them into files, for example “Madonna with childs” and “ugly baby Jesuses“. She would then go through these files and take images to create collages. These collages served as the source image from which she would paint. Her paintings were done in an extremely realist manner employing trompe l’oeil so that the collaged elements would look as though they were actually collaged onto the canvas. She loved this effect because not only was she taking quotes from art history but also she was using her self as the main figure to create a sort of biographical story. She enjoys imagination and dream paintings and was extremely excited, post graduation to find herself amongst a community of artists creating in a similar vein.
Thursday, February 18, 2010
red string on pointer finger
TR 32.07 Junior Free Skate Test
The candidate must give a performance that is generally very good in all respects. Focus should be on power, flow, edge quality, line and
footwork control. The program should demonstrate a good, harmonious composition that is skated to the music with rhythm and expression,
while utilizing the full ice surface. The following elements are required:
Jumps: Maximum of eight jumping elements for men and seven jumping elements for ladies, including the following requirements:
1. At least three different double jumps, one of which must be a double flip
2. One jump combination consisting of two double jumps (no turn or change of foot between jumps)
3. One jump sequence consisting of small jumps, followed by any double jump
4. An Axel type jump
Spins: Maximum of three spins including the following requirements:
1. Flying spin (minimum 6 revolutions in position)
2. Spin in one position (minimum 6 revolutions in position)
3. Spin combination consisting of all three positions and one change of foot (minimum of 2 revolutions in each position and minimum
of 5 revolutions on each foot and a minimum of 10 revolutions total).
Steps:
1. One step sequence of advanced difficulty, covering the full ice surface. See Rule 3643 (G) for description
Extra elements may be added without penalty.
Duration: Ladies — 3:30; Men — 4:00, to music of the skater’s choice.
Two different elements may be retried, if necessary.
Passing total: 8.0
Passing average: 4.0
Judging panel required: Three gold singles/pairs judges.
The candidate must give a performance that is generally very good in all respects. Focus should be on power, flow, edge quality, line and
footwork control. The program should demonstrate a good, harmonious composition that is skated to the music with rhythm and expression,
while utilizing the full ice surface. The following elements are required:
Jumps: Maximum of eight jumping elements for men and seven jumping elements for ladies, including the following requirements:
1. At least three different double jumps, one of which must be a double flip
2. One jump combination consisting of two double jumps (no turn or change of foot between jumps)
3. One jump sequence consisting of small jumps, followed by any double jump
4. An Axel type jump
Spins: Maximum of three spins including the following requirements:
1. Flying spin (minimum 6 revolutions in position)
2. Spin in one position (minimum 6 revolutions in position)
3. Spin combination consisting of all three positions and one change of foot (minimum of 2 revolutions in each position and minimum
of 5 revolutions on each foot and a minimum of 10 revolutions total).
Steps:
1. One step sequence of advanced difficulty, covering the full ice surface. See Rule 3643 (G) for description
Extra elements may be added without penalty.
Duration: Ladies — 3:30; Men — 4:00, to music of the skater’s choice.
Two different elements may be retried, if necessary.
Passing total: 8.0
Passing average: 4.0
Judging panel required: Three gold singles/pairs judges.
Saturday, February 13, 2010
Subscribe to:
Posts (Atom)
