Courtney Sanchez
March 9, 2009
New York City Art Trip: Behind the Scenes of the Contemporary Art World
The first stop on our trip was at John McDevitt King’s apartment/studio. It was very nice of him and his wife to let us have a tour of their home and use their bathroom! I thought it was also interesting and lucky of John to have enough space to have a studio in his home. His encaustic paintings are dreamlike and very beautiful. I enjoyed his demonstration and viewing his collaboration on the book of poems. I am gracious of their hospitality.
Next would be the O.K. Harris Gallery. The first thing shown in this gallery were the oil paintings by John MacAdam. They were paintings of highways with interesting sky backgrounds and moving cars. I also enjoyed Mimmo Roselli’s Measuring the Space with the ropes from wall to wall. Steven Valde Larsen’s photographs of doors were beautiful and first appeared as paintings until looked at closer. The sculptures of tangled wire that produced the chair and U.S. shadows were mind boggling and awesome.
The next gallery would be Walter De Maria. This is where we saw, The Broken Kilometer, 1979. It is composed of 500 highly polished, round, solid brass rods, each measuring two meters in length and two inches in diameter. The 500 rods are placed in five parallel rows of 100 rods each. The sculpture weighs 18 3/4 tons and would measure 3,280 feet if all the elements were laid end-to-end. Each rod is placed such that the spaces between the rods increase by 5mm with each consecutive space, from front to back; the first two rods of each row are placed 80mm apart, the last two rods are placed 580 mm apart. Metal halide stadium lights illuminate the work which is 45 feet wide and 125 feet long (broken). My first glance at this piece made me think that there was something underneath these rows as if they were bridges and you could look under them. I don’t understand this sculpture but appreciate its mass and its ability to make me feel small. The New York Earth Room’s moisture was intense! The air was warm and heavy. It gave an ironic sense of all this dirt in a New York room. Untouchable of living people and plants. I found it interesting that a woman was sitting there when we arrived just looking at the 280,000 lbs of soil. I wondered if she sat there often.
The next art couple we were to meet was curators, Paul and Renee Laster were very inspiring. I like their ability to find artists that people don’t know much about and the way they laid out their gallery space. I loved the mythological tire woman and basically every other piece of art that was in their gallery.
I was really excited to see Louise Neverlson’s work in person, it was awesome! I loved her found objects turned into non representable. Tony Oursler’s Cell Phones, Diagrams, Cigarettes, Searches, and Scratch Cards were amazing and hilarious! I also loved the houses that looked like belonged to elves or children play houses were so cool and wish I owned one (I’m really bummed because I forget the artists name).strange art
The Pulse Contemporary Art Fair was an overload of great! The countless things that inspired me are too numerous to name each and every but an opportunity that I’m so glad I was able to witness and would someday hope to have things on display there or a place like it! Thanks for making the trip happen!
Monday, March 23, 2009
Courtney S WA: Visual Culture Paper_theme
Courtney Sanchez
Visual Culture Paper/ Presentation
Individual Studio/Professional Practices (ARTA 260 G)
Prof. Bruce Wall
The theme I selected for my Visual Culture paper is death masks. I chose this topic because I used a mask of my face for my project of the self portrait. I first learned to do this process in my sculpture class I took last year at the south side campus. A death mask is a wax or plaster cast made of a person’s face following death. They were used as mementos of the dead, or were used as an example for portraits.
According to Wikipedia, “It is sometimes possible to identify portraits that have been painted from death masks, because of the characteristic slight distortions of the features caused by the weight of the plaster during the making of the mold.” A more known source of a death mask is the masks used by the Egyptians as part of mummification, such as Tutankhamon’s burial mask.
In the seventeenth century in some European countries, it was common for death masks to be used as part of the 3 dimension image of the deceased, displayed at state funerals. During the eighteenth and nineteenth centuries they were also used to permanently record the features of unknown corpses for purposes of identification. This was later replaced by photography. For my class since we were all living we made life masks. Life masks are a very special thing to create because you don’t have to be a sculptor and it is an image of yourself you and your family can keep forever. I did not make an expression in my face when the cast was taken but , “trying- to-look-pleasant” expression is peculiarly noticeable in the life masks of Wordsworth and of Keats; although the former did not altogether succeed, which was not the fault, by the way, of Charles Lamb. Haydon describes the operation in his Journal, under date of 1815, and says: “Wordsworth sat in my dressing-gown with his hands folded, sedate, solemn, and still, bearing it like a philosopher.” But elsewhere we read that the poet was placed flat on his back on the studio floor, while Lamb capered about him in glee at the undignified absurdity of the proceedings, trying to make the subject grin at his fantastic criticisms and remarks” (undying).
The website deathreference.com states, in some cultures, mostly in African, Native American, and Oceanic tribes, death masks are considered an important part of social and religious life. Death masks facilitate communication between the living and the dead in funerary rites and they create a new, superhuman identity for the bearer. Death masks can take the form of animals or spirits, thereby allowing the bearer to assume the role of the invoked spirit or to fend off evil forces.
In some tribes death masks are used in initiatory or homage ceremonies, which recount the creation of the world and the appearance of death among human beings. For others, where the link to ancestors is sacred, they are used to make the transition from the deceased to his or her heir of the family. Death masks are also used as a tool to help the deceased's soul pass easily to the other life. The respect of the funeral rites of mask dancing can also protect from reprisals from the dead, preventing the risk of a wandering soul.
I think everyone artist or not should participate in this act! It is a quick and easy process for something that can be made into something wonderful. Rhonda LaRue a master mask maker writes, “In over 300 mask making episodes, I’ve never once had a problem and it’s always been a real treasured experience for the client and myself. But that doesn’t mean it can’t happen. I’m always conscientious and sensitive to unexpected possibilities and to the unique needs or circumstances of each individual. In my experience it’s a marvelous and great life affirming shared experience. I wish you each the same!”
Works Cited:
Deathreference.com. “Death Mask.” 10 Feb2009
Rondalarue.com. “How to make a life mask!” 10 Feb 2009
Wikipedia.org. “Death Masks.” 10 Feb 2009 <>.
Undyingfaces.com. “Death Masks- Life Masks.” 10 Feb 2009
Visual Culture Paper/ Presentation
Individual Studio/Professional Practices (ARTA 260 G)
Prof. Bruce Wall
The theme I selected for my Visual Culture paper is death masks. I chose this topic because I used a mask of my face for my project of the self portrait. I first learned to do this process in my sculpture class I took last year at the south side campus. A death mask is a wax or plaster cast made of a person’s face following death. They were used as mementos of the dead, or were used as an example for portraits.
According to Wikipedia, “It is sometimes possible to identify portraits that have been painted from death masks, because of the characteristic slight distortions of the features caused by the weight of the plaster during the making of the mold.” A more known source of a death mask is the masks used by the Egyptians as part of mummification, such as Tutankhamon’s burial mask.
In the seventeenth century in some European countries, it was common for death masks to be used as part of the 3 dimension image of the deceased, displayed at state funerals. During the eighteenth and nineteenth centuries they were also used to permanently record the features of unknown corpses for purposes of identification. This was later replaced by photography. For my class since we were all living we made life masks. Life masks are a very special thing to create because you don’t have to be a sculptor and it is an image of yourself you and your family can keep forever. I did not make an expression in my face when the cast was taken but , “trying- to-look-pleasant” expression is peculiarly noticeable in the life masks of Wordsworth and of Keats; although the former did not altogether succeed, which was not the fault, by the way, of Charles Lamb. Haydon describes the operation in his Journal, under date of 1815, and says: “Wordsworth sat in my dressing-gown with his hands folded, sedate, solemn, and still, bearing it like a philosopher.” But elsewhere we read that the poet was placed flat on his back on the studio floor, while Lamb capered about him in glee at the undignified absurdity of the proceedings, trying to make the subject grin at his fantastic criticisms and remarks” (undying).
The website deathreference.com states, in some cultures, mostly in African, Native American, and Oceanic tribes, death masks are considered an important part of social and religious life. Death masks facilitate communication between the living and the dead in funerary rites and they create a new, superhuman identity for the bearer. Death masks can take the form of animals or spirits, thereby allowing the bearer to assume the role of the invoked spirit or to fend off evil forces.
In some tribes death masks are used in initiatory or homage ceremonies, which recount the creation of the world and the appearance of death among human beings. For others, where the link to ancestors is sacred, they are used to make the transition from the deceased to his or her heir of the family. Death masks are also used as a tool to help the deceased's soul pass easily to the other life. The respect of the funeral rites of mask dancing can also protect from reprisals from the dead, preventing the risk of a wandering soul.
I think everyone artist or not should participate in this act! It is a quick and easy process for something that can be made into something wonderful. Rhonda LaRue a master mask maker writes, “In over 300 mask making episodes, I’ve never once had a problem and it’s always been a real treasured experience for the client and myself. But that doesn’t mean it can’t happen. I’m always conscientious and sensitive to unexpected possibilities and to the unique needs or circumstances of each individual. In my experience it’s a marvelous and great life affirming shared experience. I wish you each the same!”
Works Cited:
Deathreference.com. “Death Mask.” 10 Feb2009
Rondalarue.com. “How to make a life mask!” 10 Feb 2009
Wikipedia.org. “Death Masks.” 10 Feb 2009 <>.
Undyingfaces.com. “Death Masks- Life Masks.” 10 Feb 2009
Courtney S_Self Portrait Evaluation and Peer Evaluation
My preferred material was the oval canvas. It was something I always wanted to use instead of the standard rectangle or square canvas. The new material I used was the cheese cloth. I used the cheese cloth for the mold of my face and by covering the canvas (something I've never tried before). I also never incorperated photogram's into an assignment and enjoyed using it as apart of the collage. This piece represents the two recent deaths in my life and the feelings I have been using to deal with them. The deaths were of my grandfather and the other of a friend I had lost touch with because of his drug addiction. Although they are gone I will remember them through this piece. All lives end at some point but with them come new life. This piece can be appreciated by the next generation of my family as a 3-D look at my face and creation at a young age while I mourned loved ones.
Michelle's self portrait was femminine and dark and made me question the sewn lips. I was curious what she felt she had to keep shut. The chip from the phone added to this mystery and the collage worked well.
Michelle's self portrait was femminine and dark and made me question the sewn lips. I was curious what she felt she had to keep shut. The chip from the phone added to this mystery and the collage worked well.
Courtney S_Frank Mann Individual Critique
Courtney Sanchez March 9, 2009 Frank Mann Critique The Frank Mann critique was a really cool experience. I never thought to be critiqued by an artist that is known for art at MoMA. It is a very special opportunity and I greatly appreciated it. He was very down to earth and also very helpful. Frank Mann brought up ideas about my work that I previously haven’t thought of. One was the idea of wanting people or ideas that are not here. Such as, my personal belief system and my Medusa’s daughter (portrait of myself as a child). Medusa is a mythological character that is not real and my personal belief system shared people that are no longer here. Frank also told me that he has a fascination with mythology and has studied it quite a bit. Frank also told me that the enlarged portrait painted green was comical and alien like. He enjoyed the mask appearance it had. He thought the dollar store snakes as hair were really cool but suggested I either add more 3-D objects or make the snakes flat. I noticed the snakes stood out and decided to keep them and added fake flowers onto the collar. He also said he noticed my baby crib when he entered the room and said it reminded him of 19th century morbidity art. He told me to look into that art subject and I took his advice. I found some pretty cool websites on it that showed strange things like a hurse with big windows so you could see the coffin. The critique was helpful and interesting. I enjoyed meeting him and appreciated his advice.
Courtney S_Banana Factory
Courtney Sanchez Banana Factory Tour with Rachel Akers The most interesting aspect was that Rachel can manage the gallery all by herself. Her ability to set up the show within two days is an inspiration and amazing. The most unexpected thing seen was the ceramic sculpture of the man that looked a bit demonic. I found it really interesting and shocking because there weren’t many dark pieces of art at the factory. I’m also curious to see what the buyers of his art are like. I can imagine myself as a Visual Arts Coordinator in maybe a few years or so. Right now I am not capable of being extremely organized and do not do too well under pressure. I hope to achieve all of those skills sometime soon. I think a job like this could really prepare me for future experiences and could learn very much. Ester Smith’s gallery was very powerful. Her use of text really complimented and demanded attention. The photographs of the natural roads and swamps were beautiful in a melancholy way. Her images and words are hard to forget and I appreciated her sharing her personal background and the voyage she went on to retrace her roots in the South.
Courtney S_Altered and Assembled
Courtney Sanchez Altered and Assembled The Beat Goes On-New Perspectives The piece I chose to write on from this art show was Patsy Cline by Ellen Siegal. I noticed this piece because of the relation of Jesus Christ; engrossed by the nail through the palm. I was drawn to this piece because of its feminine qualities and strong image of the nail through the mannequin’s hand. My first reaction to this was that of the struggle of women. I also liked the flower painting on the stick and the pearl décor. The colors were pretty and cheerful but the nail through the hand a bit disturbing (which made me extra inquisitive). When I came home and looked up the name Patsy Cline learned she was a country music singer that was originally named Virginia Patterson Hensley from Virginia. I am not a big fan of country music but she is said to be considered one of the most influential, successful, revered, and acclaimed female voices of the 20th century. She died at the age 30 in a 1963 plane crash in the height of her career. She was the first solo female artist inducted to the Country Music Hall of Fame. Maybe a song of hers mentioned a nail in a woman’s hand or maybe the artist, Ellen Siegal uses Patsy as an example of a leader for other women.
Subscribe to:
Posts (Atom)