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Artists: Dori Latman and Catherine Judge
Bird Catcher from the Eastern Zhou Dynasty, 5th-3rd Century BC
In Plato’s Cave No. V by Robert Motherwell, 1973-1974
Materials Chosen: Red balloons, brown paper, twine
Surprise Material: Textile matting
“How It Evolved”
Starting with balloons, twine and textile matting, our group of artists collaborated to create a piece that symbolizes unity. Our installation is made to guide viewers through the space to observe the flow of light and line. We were inspired by our visit to the museum which fueled the evolution of our ideas.
Artists: Liesl Carlson and Bob Burch
Golfe Juan by Paul Signac
Terminal Mirage by David Maisel
Materials Chosen: Felt, coat hangers
Surprise Material: Postcards
Our studio group was given three very different objects that were to be utilized in order to create one cohesive installation. Our inspiration came from two museum pieces, Golfe Juan by Paul Signac, and Terminal Mirage by David Maisel. These pieces inspired us to create a piece that caused the viewer to be emotionally impacted by the use of negative space, vibrant colors, and detailed structures. We also wanted to explore a sense of control versus chaos, similar to that of the two museum pieces. Control comes in the form of both the covered bird cage and the un-popped balloons. However, with this control comes feeling of restriction and confinement. This chaos explodes from both the balloons and the cage in the form of paper cranes. The cranes, while chaotic and free, upon closer inspection have an underlying darkness in the imaged printed on them. This was another idea that the group wished to convey, thus the holes in the enclosed birdcage so viewers can inspect the inner chaos.
Artists: Tom Grady and Andy Fish
These Days of Maiuma by Robert and Shana Parke-Harrison, 2013
The Hunt Mosaic in the Renaissance Court
Materials Chosen: Paper and pins
Surprise Material: Silver bags
Our piece was crafted from three simple materials: copy paper, silver plastic bags, and craft pins. It was inspired by elements of artworks that we observed while walking through the museum, which include The Scarlet Letter, The Hunt mosaic, and These Days of Maiuma. The tiled, collage-like carpet of white paper combines elements of the Roman mosaic, as well as the Scarlet Letter. We also decided to draw from the chaos and linear movement found in These Days of Maiuma. In this piece, such elements were established by the smattering of crowded objects across a table- some tipped over and disheveled along with a pearl necklace that we draped horizontally across the objects. In our piece we used crinkled up paper, silver netting, and shreds of paper to create chaos. The wave pattern on the paper back drop establishes linear motion as do the blocks of paper on the net, which also include balls of paper that play off the pearls in the necklace. The floor is inspired by the Roman mosaic and also includes chaos in that we used triangle pieces of differing size and shape in a mismatched configuration. We were limited in our materials but not at all in our creativity. As a group we have created a beautiful, interesting, and visually stimulating installation.
Artists: Jamie Buckmaster and Cori Champagne
Golfe Juan by Paul Signac
The Shipwreck by Hubert Robert
Ken Kesey’s Magic Bus at the San Francisco State Acid Test by Gene Anthony
Materials Chosen: Colored file folders, clothesline
Surprise Material: Orange foam strips
The modern industrial wave and the organic wave of life clash together in devastating chaos.
Artists: Joanna Mattuck and Andy Bell
Spectre by Franz Kline
Une Calle De Toledo by Joaquin Batisda
Materials Chosen: Black paper and black tape
Surprise Material: Industrial freezer trays
In creating our studio installation we focused on a few main concepts and ideas. In the early brainstorming session the group discussed the main ideas of order and chaos. The idea of a destructive force as a focal point of the space began the collaborative discussion that led to the final project. Using black and white paper and black tape allowed us to emphasize the sharp contrast of destruction and recreation.
Artists: Veronica Fish and Carolyn Clayton
The Vanishing by Julia Hechtman, 2008
Silent Gardens, Prints by Yoshida Toshi, 1963-1964
Materials Chosen: Dowels and White Ribbon
Surprise Material: Cell Phone Cases
Title: Joshua Felix, Esquire III
The empty skeleton of this deep sea angler fish has a direct connection to the white outlines of Yoshida’s work. The dark mood of the piece resembles the unsettling atmosphere of the Vanishing. We only have the blank and desolate environment where this fish once thrived and are left with just its heart and head light as focal points. The white lines in our piece lead our audience through the structure itself. A uniquely interactive piece of art.
Artists: Patti Kelly and Nancy Horton
These Days of Maiuma, byRobert and Shana Parke-Harrison, 2013
The Twelve Zodiacal Constellations by Yoshio Imamura
Materials Chosen: Maps, black paper, beads
Surprise Material: Slides
Life is full of contrasts. Life is beautiful, yet full of pain and cycles. In order to express our feelings toward the previous statements we utilized art, which, from our viewpoint, is the most effective method to express one’s thoughts and feelings.
As Yoshio Imamura did in The Twelve Zodiacal Constellations, we showcased how everything in the universe is connected. Furthermore, we wanted to represent some different things in life which don’t allow the creatures to be free. Just as Robert and Shana Parke-Harrison did in their art piece These Days of Maiuma.
The tree is surrounded by chaos and disorder, thus leading the audience to not feel comfortable admiring the tree and it’s surroundings. Consequently, we made a butterfly which is flying. Nonetheless, the butterfly is not free, she is within a fragile cage. Even though it’s a fragile cage, it is obstructing the butterfly’s liberty and independence.
Why dark walls? Life is illuminated, it’s a synonym of light. Therefore we felt like we had to set a contrast. Metaphorically speaking, the dark walls would be life’s opponent.
Artists: Elaine Smollin and Lauren Savoia
Campbell’s Soup Can (Tomato) by Andy Warhol, 1965
La Casa VIvda I, Doris Salcedo, 1992-1994
Materials Chosen: Colored Wire and pencils
Surprise Mateiral: Film Rolls
Permanence and impermanence is the concept we chose to create this installation. Here the spaces we constructed represent our journey into creative discovery in which we explore the conscious and unconscious processes of drawing.
Our vision evolved while viewing works by Doris Salcedo (Columbian) and Andy Warhol (American). They created iconic artifacts that transformed the idea of image and object in art. In response we drew our interior thoughts directly on a handmade environment.