finally.

So I've been wanting to go out and take pictures of all the hydrants I've been noticing in the area. I finally got the chance to this past weekend and I thought I'd share with you the lovliness.











I like the unique qualities in each. I mean they're all so similiar but so completely different. I'm going to South Carolina this weekend and plan on adding some southern hydrants to my photo montage.

look. more.

Rebecca Strzelec

http://www.personal.psu.edu/ras39/index.html

I need to somehow get ahold of those bandages. There was one part of her artist statement that I really liked. She initially created all of these brooches as a redefinition of the corsage. I love that idea. I think her design process is really well thought out, and the forms she has created are extremely successful. She uses CAD programs to design and print her designs and then uses adhesive bandages to place these forms directly onto the body. She stated that she wanted to question the notions of what jewelry needs to be. I think her concept of applying these forms directly to the skin is a great reaction to this thought. No clasps, chains, or pins attatched.

look. again.

Joe Wood. Check it out.

http://www.joewoodstudio.com/

I like the simplicity in his designs. The red pin at the top was one of his earlier works, and he did not use a CAD program to design or print that form. For the rest of these pieces, he used CAD to create the designs, print them, and either that was final product, or he enameled onto the printed material, or he used these print outs to then make silver castings (ex.the rings). I love his use of enamel. He has such control in getting that nice orange peel or sugar coat finish. Love it.

article response.

“Influence of the Digital Toward a New Medium”
By Douglas Bucci and Matthew Hollern

This was the second article written by Bucci and Hollern. It, like the first, included many examples of various artists incorporating digital technology into their work. Their argument remains that this new medium can positively contribute to contemporary art. Stanley Lechtzin discussed how meaningful form can be created for digital space “free from constraints of material world.” Digital modeling can be used as a “workspace,” a place to sketch, search, and explore new designs and ideas. I know I’m just beginning in my exploration of computer 3D modeling, but I think it really is a great tool to use in the design process. They spoke about many innovative artists in this article.

Rebecca Strzelec – I looked at her work when I was making my neckpieces. She uses bandage adhesive devices to mount jewelry directly on the body. I’m having trouble finding out exactly what she buys. I am unhappy with my temporary solution of adhering my neckpieces to the neck, so I would love to find out exactly where to order/find these bandages. I love her concepts of pieces of adornment that are in accord with the body.

Richard Nelipovich – He actually allows the computer to control the outcome of some of his work. Simply by mutating an original code in the computer, it evolves his designs into new forms. In contrast to this highly modern use of technology, Nelipovich uses a lot of the traditional lost wax casting process in the creation of his work.

Rod McCormick – He creates complex CAD 2D patterns and then transforms them into his 3D vessels. He basically uses digital technology to elaborate on basic design principles of sheet metal fabrication. He simply uses the computer as an aid to see his vision of form.

Joe Wood – He also sees digital as a tool and medium. He created the “lumpy” red bracelet I remembered from some images Doug had shown us in class. In that piece he actually enameled on a form that he created in a CAD program.

So what does it mean to embrace a new technology? I think this article accurately conveys that there is no one answer to that. Artists have been able to embrace digital technology in a number of ways. While it can be used as an innovative new medium, it is also a great tool that can become a part of the creative process. This creative process can be different for each individual artist; the way in which this medium is used also varies.

article response.

“Influence of the Digital: Context and Form”
By Douglas Bucci and Matthew Hollern

www.dougbucci.com
www.virtualtangible.com/VirTang-13.5.swf - Doug actually showed this site in class. He and Matt Hollern curated this show, and this site includes a great collection of a variety of designs that incorporate digital technology.
www.mecsoft.com/Mec/Products/Case/cleveland.htm

I was very excited to read both the articles written by Doug Bucci and Matt Hollern since Doug is my instructor this semester in the CAD class I’m taking. This first part discussed how digital technology is a “medium” that has redefined the arts. Since as artists we interpret our culture through the act of making, this article stressed the marriage of aesthetics and utility. I love this argument of a relationship existing between science (objective) and art (subjective). This cross-disciplinary approach is what we, as new artists, should embrace. The virtual environment that digital technology contains allows for ideas to be conceived, designed, and created before actually becoming tangible. Digital technology is simply an extremely beneficial tool that we should take advantage of within our design process.

Stephen Wilson – art installations and projects
http://userwww.sfsu.edu/~swilson
Malcolm McCullough – computer aided design in architecture (1980s)
http://www-personal.umich.edu/~mmmc

article response.

“Building Bridges Between Art and Technology: Rapid Prototyping and Manufacturing”
By Staci Kerman
http://www.stacikermandesign.com/

I’m currently enrolled in a computer 3D modeling course and completely agree with Staci Kerman in this article. After looking her up and seeing all the great work she has done, I realize even more the capabilities of rapid prototyping and manufacturing. She has made glasses, flatware, bake ware, sculpture, jewelry, and furniture, all with innovative, technology-driven designs that are extremely sellable. Her “portfolio” on her website includes photographs of her work and rendered images. Her innovative and functional design is apparent in every single piece. Technology is such a great tool for design. It allows for scale manipulation, replication, opportunities for the casting process, and provides for a high degree of detail. The SLA machine she described in this article allows you to directly cast without a need of a mold. The benefits this tool has for artists are great. I like how she ended her argument with the fact that we should all take advantage of the latest technologies in order to stay competitive. Her website and her work prove her alliance with technology and how it has truly benefited her designs and products.

look.

http://mielmargarita.com/index.html

Saw her at ACC, she was actually a spotlight artist during the wholesale day we went to. I was really drawn to her work since the majority of it was metal. Her website is awesome and she even has a group of photographs that show the studio progress of her many pieces (like the one above). She had some great sketches and watercolor paintings that she included in this grouping. I like seeing an artist’s journey from idea sketches through finished product. Her skill of forming metal with hammers is amazing.

article response

Stanley Lechtzin and Daniella Kerner excerpt from “Studio” by Phillip Carrizzi

This article began with a statement that referred to the creation of art that builds on what has come before. Immediately this reminds me of our recent critique in our special topics class. We had a discussion on appropriation and how this is something we should steer clear of in our work. Since our pieces were in response to ancient culture’s impulses of body adornment, it could have been easy to simply appropriate the imagery we find into a tangible form. Instead of appropriation, we should see work that has come before as creative sparks that ignites an innovative journey of design.

I feel like this article accurately described how work of the past, work that already exists, can become inspiration for creativity. I love the use of the word “build.” To build: to be innovative, to explore, to create based on a personal response to something that already exists. It is our job as artists to think creatively and continually notice places for improvement, see things in a new light, or discover something that has yet to be thought of. I love how these two artists and educators explained that this process starts with a single image or idea, an essential spark, which can end up creating a winding path of concepts and projects. This reminded me of the enameling class I took last semester. Jan had us go out into the world and take pictures. We then had to choose one of these to base an entire semester of work upon. I chose a fire hydrant and must admit I don’t think I’m done exploring this image, idea, form, whatever it may be in my head. The image of a fire hydrant is common and recognizable. I’d like to think that it has the potential to be “built” upon.

look.

Arthur Hash. I love his work.

Helen Shirk - prismacolor on copper

I enjoyed this quote I found while I was checking out her work.

“In each piece I try to create the feeling of sensuousness, strangeness, and vitality that I find in the natural world.”

I love color.

Creative Caffeine

So my adventure to various tattoo parlors was not as successful as I had hoped. Many of the tattoo artists and customers who actually had neck tattoos were not willing to let me take a picture of them. There was one, however, out of the five or six shops I visited.
The picture above is of a lovely tattoo artist named Hunter who I met at Saints and Sinners down in Fell's Point. Great little shop and a really cool guy. His website is www.tattoodevil.com. Thank you, Hunter, for letting me take a picture of your awesome tattoo.

neckpiece(s). progress. photos.

Work in progress. Enjoy.I'm just holding it on here. There will be color on this one shortly.
Enamel. Sorry about the glare, it's still shiny. I'm thinking about armor etching the whole thing but I'm worried it will diminish the drawn black lines.
The back. I placed the piece in liver of sulfer after using a few different layers of greens. I think the fading green into black ended up looking pretty cool.
Front. Hammered texture around edges. It thinned out the metal, somewhat of a fade into the skin.
Inside. Again, color is still to come.
This one is actually attached in this picture with mounting tape. It worked pretty well.

more Art of Innovation response

“The Perfect Brainstorm” Art of Innovation

As I was reading this chapter I could picture our in class design reviews in my mind. Brainstorming is such a vital part of any design process and group brainstorming sessions like those we have in class. Brainstorming is such a great resource and provides needed insights to some of the toughest design challenges. As a student I’ve been forced to brainstorm ideas for papers, outlines, speeches, and projects. It is simply an essential part of the learning process.

I love the idea of brainstorming as an opportunity for improvement. Sure, before class we all come up with initial ideas. We are even forced to come up with a large number of ideas before the brainstorming process in class. I find that after the design review, even if I thought I had good ideas coming into class, I leave with such a better sense of what I can accomplish and what I want to do for the individual project. The improvement is made through the group brainstorm.

The method of brainstorming the Art of Innovation outlines (understand, observe, visualize, evaluate, and implement) is simply perfect. How can we create successful designs unless we observe the world we’re in, understand our place in it, and then begin to visualize, evaluate, and implement ideas? It can be a personal interpretation, an idea we want to share, or a solution to a problem at hand, but these instances must become things we dive into and explore to find the perfect concept, actualization, or even tangent that can drive the focus of the project.

conflict stones.

I came across this article that was put out by Global Witness (www.globalwitness.org) and Amnesty International USA (www.amnestyusa.org). While it was written a year ago, it argues that US jewelry retailers are still not doing enough to combat blood diamonds. One main argument was that the United States and other governments should carry out stricter oversight of the diamond industry in order to strengthen the enforcement of the Kimberly Process and the Clean Diamond Trade Act. One solution they presented was that all sectors of the diamond industry, including jewelry retail, should implement a third-party audit measure to ensure widespread compliance with the Kimberly Process and other laws affecting the diamond industry. One of the main complaints this article outlined of retail jewelers is that the majority still does not post their policies against conflict diamonds on their websites and they do not provide copies of their policies to customers in stores upon request. Since the public is becoming more and more aware of the existence of blood diamonds, I was surprised to hear that retail stores are still not doing this. We, as customers, should always ask for certification and for a copy of the retailer’s policies whenever purchasing a diamond.

Some other links to check out along with the Global Witness site and Amnesty International is (www.diamondfacts.org). Check out the education pack. And (www.blooddiamondaction.org).

The Kimberly Process is in existence for our benefit and for the benefit of those living in what were once conflict areas. We should help support its existence however we can. Insist on certification. Insist on seeing retailer's policies.

Bibliography for article:
(2007). Conflict Diamonds: U.S. Jewelry Retailers Still not doing enough. Global Witness and Amnesty Int. 1-12.

historical research project. update.

I'm so excited about this piece I'm making. Well pieces now. I finished enameling one of the hammered neckpieces I made this weekend and am planning on using prismacolor pencils on the second formed piece of copper. I've read the techniques outlined in the books Color on Metal and The Penland Book of Jewelry and can't wait to try this alternative way of applying color to metal.

I've also been searching for tattoo parlors in the Towson/Baltimore area and plan on visiting at least four this weekend. Hopefully I'll meet some people who have interesting tattoos (perferrably on the neck) that they will allow me to photograph. Let me know if any of you know of some good tattoo places in the area. Here are my hopefuls for this weekend:

Read Street Tattoo http://readstreettattoo.com/splash.html (cool site)
Baltimore Tattoo Museum http://www.baltimoretattoomuseum.com/ (also a great source)
Harm City Gallery (right on York Rd.)
Saints and Sinners http://www.saintsandsinnersink.com/ (another cool site)

I really want to get a tattoo but I fear my pain tolerance (or lack there of) is a major reason for me to not. Maybe someday...

Here are some sources I used for the paper that goes with this project. The paper I wrote deals more with body adornment in general in Ancient Egypt. Aside from tattooing, jewelry was a huge part of their culture and I found some great books at Cook Library that helped out in the research portion of this project.

Andrews, C. (1990). Ancient Egyptian Jewelry. New York: Harry N. Abrams, Inc., Publishers.

B. M. C. (1916). The Dress of the Ancient Egyptians: In the Old and Middle Kingdoms [Electronic version].

The Metropolitan Museum of Art Bulletin, 11. 166-171. Buckland, A.W. (1888). On Tattooing [Electronic version]. The Journal of the Anthropological Institute of Great Britain and Ireland, 17. 318-328.

Mitchell, M. (Ed.). (1984). Objects of Adornment: Five Thousand Years of Jewelry from the Walters Art Gallery, Baltimore. New York: American Federation of Arts.

Peace, W. (2000). Body Art: Marks of Identity [Electronic version]. American Anthropologist, 102. 589-593.

Sinclair, A.T. (1908). Tattooing – Oriental and Gypsy [Electronic version]. American Anthropologist, 10, 361-386.

Tait, H. (Ed.). (1986). Jewelry 7000 Years: An International History and Illustrated Survey from the Collections of the British Museum. New York: Harry N. Abrams, Inc.

Malek, Jaromir. (2003). Egypt: 4000 Years of Art. New York: Phaidon Press Inc.
(Thanks Liz for the last one!)

I'm still very interested in the Ancient Egyptian idea of protection behind the various forms of body adornment they had. I'm hoping to tie in some of my own ideas of protection and really make this piece personal. Ancient Egyptians lived their lives in await of the afterlife and their strong beliefs in the divine provided a reason for them to live and to adorn their earthly bodies. I feel that my own personal faith also affects how I live my life and I'd like the pieces I create to symbolize my own issues with protection and ideas of faith and God.