Senior Thesis

Bailey Dowlin

Visual Analysis of Dreams

Bachelor of Fine Arts Written Thesis

University of Cincinnati

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Dreams are a shared experience of the human race,
impacting us in a variety of ways. Through experimentation with
materials and the research and analysis of dreams, my abstract
collages are a metaphysical culmination of visual elements that
derive from emotions and personal experiences through
dreaming. I reveal my interpretation of universal dreams and what
they mean when making collage and inviting the viewer to
encounter what my brain is thinking, feeling, and experiencing
during my slumber. Mixed media collage incorporates my
experience into the paradigm of common dream types; nightmare,
epic, recurring, and anxiety dreams. I used a variety of materials
with different techniques and layers to contextualize the shared
experience of dreams into relatable imagery.

 Rather than representing my state of mind during specific
dreams, my thesis work summarized nightmares, epic, recurring,
and anxiety dreams, which are relevant and memorable
containing a range of emotion. Using dream psychology and
symbols along with visual art vocabulary, I created four collages
depicting a shared experience of dreaming with my own
perspective of imagery and emotions. Epic dreams are often my
most surreal and strange, leaving me with bizarre memories and
vivid, surreal imagery that is visually translated using bright
colors, smooth textures, and strange shapes. These dreams are
most significant in leaving a memorable impact because of the
strangeness instead of emotion. Dreams that are suspenseful and
full of anxiety are where dream psychology and symbolic meaning
are most significant, possessing many symbols to interpret about
problem solving. A busy composition with abstract shapes, teeth,
and chaotic marks conveyed the idea of stress and suspense.
Recurring dreams are defined as dreams that repeated themselves with very little variation in story or theme. These are
particularly interesting and hold nostalgic value to me because I
have had the same recurring dream since I was a child. A
composition full of repetition in pattern and shape showed the
idea of repetition with a simple black and white color scheme. My
darker, more disturbing nightmares have strong, powerful
emotions making me feel discomfort and fright. These types of
unpleasant dreams I’m most happy to wake up from. Self
discovery occurs because my subconscious forces me to interact
with what I fear the most. Jagged edges in line and shape as well
as dark colors represented darkness and fear. These types of
dreams are not only common and engaging, but very
unforgettable and revealing of the subconscious. 1
1 “Dream Moods: Type of Dreams.” Dream Moods: Type of Dreams. 28 Mar.
2015. Web. 10 Oct. 2015.
.

 My work was inspired by dream psychology, various
movements and artists in art history, and elements of design as
visual vocabulary. Research of artists, surrealism, and dream
psychology played various roles in inspiring the concept and
visual elements in my work, and added to my preexisting interest
in dream psychology. My research of these topics explored
meaning behind specific occurrences in my dreams that I applied
and visually contextualized through collage.
Sigmund Freud’s dream psychology theories impacted the
way I viewed the subconscious and how dreams can be used to
decode what our brain is trying to communicate. Sigmund Freud
discusses his theories of dream psychology in his famous book
“The Interpretation of Dreams,” where wish fulfillment and
attempts for the unconscious to resolve conflict are common
occurrences.
2 I used this information in my work through layers of
2 Freud, Sigmund. The Interpretation of Dreams, Third Edition. Trans. by A. A.
Brill. New York: The Macmillan Compa

materials, visually representing subconscious thought and
irresolute meanings behind symbols and imagery. Dream
psychology inspired me to make many layers to visually represent
the underlying meaning each dream holds.
Dream symbolism, which was most prevalent when I was making
work about specific dreams, helped me decipher imagery, leading
to reflection and self discovery. 2 This also provided inspiration for
visual dialogue made in my collages, such as organic paint blobs
and teeth. Nightmares, epic, recurring, and anxiety dreams were
most significant familiar dreams I chose to research and represent
in my work. Nightmares include feelings of fear and anxiety,
responding to trauma or situations in real life, and indicate a need
to confront or acknowledge a fear. Epic dreams are compelling
and vivid, possessing beauty and many symbols that can have
multiple interpretations, making them memorable. Recurring dreams have very little variation in content, and are meant to
resolve a conflict or problem. Anxiety dreams such as teeth falling
out are seen as a bad omen meaning a loss of confidence or fear
of being unprepared. After researching these fairly common
dreams, I knew I could make artwork in response to my personal
experiences an audience could relate to. My dream research
influenced my overall concept and choice of dreams to represent.
The Surrealist movement in art history provided context for
historical impact on my work. Surrealism dealt with odd,
unexpected juxtapositions of elements in art and was devoted to
liberating the unconscious through dream analysis and free
association.3 I studied artists such as Jackson Pollock, Mark
Rothko, Salvador Dali, and Val Britton, taking inspiration from
their use of color, shape, line and composition in abstraction.
Each artist interested me in theory, technique, or subject.
3 Stokstad, Marilyn. Art History. 4th ed. Saddle River: Pearson, 2011, Print.

http://www.bartleby.com/285/. [16 Nov. 2015].

 Salvador Dali’s surreal paintings provoked thought and emotional
responses, depicting his personal dreams in a unique, strange
way. Jackson Pollock’s paint dripping method and layering
inspired my handling of the paint and materials. Rothko’s colorful
paintings evoked feelings, inspirational for the reaction I wanted
my work to possess. Val Britton’s dreamy maps inspired my
aesthetic and composition in collages.
Alongside intellectual research, I used technical
experimentation in abstract studies to physically research
throughout the year. With my first collages, I experimented with
materials rather than making larger, finished works. In abstract
paintings, I created compositions trying out many different layers
and colors. Returning to collage, I combined the studies and
experiments with materials, application, and color into a finalized
process of art making. Visual elements of art such as color,
shape, edges, and line work stylistically influenced my work.
Varying vigor in brush strokes, line drawings, and mark making helped distinguish energies and feelings between dreams, while
shape and color variety conveyed different feelings.
During the thesis course, my work evolved in several ways;
the most substantial change was the types of dreams my collages
represented. My work began as rectangular collages, transitioning
into abstract painting, then returning to collage. Over time, I
continued to incorporate elements from personal dreams into my
collages and made it my individual interpretation of a common
dream experience. I experimented more with varying methods of
paint and material application rather than the materials
themselves. This semester my work began with mainly paint and
color variety, evolving to a wide variety of colors, shape, texture
and form of collage that was much more interesting and in depth.
Not only physically, but conceptually my collages my collages changed from
specific dreams to significant dream categories. Broadening my
concept to types of dreams made it much easier to design
elements, composition, and color schemes to convey my idea and relate to the audience. Before, I tried to depict specific dreams,
which proved much more difficult to portray to an audience than a
generalized idea.
Throughout the year, I changed a lot about the physical
appearance and concept of my thesis. The mixed media collages
go through many stages before being considered a finished work;
I find myself creating layers until the final result is much different
than the first product. My initial process began by recalling a
recent dream, writing in my dream journal, researching the
meaning through symbols, and reflection through collages to
visually record dreams. For my final work, I made a culmination
of each dream type and used a recipe combining past
experimentation and discoveries to make generalized collages.
Using colortranslate , and other parts from previous specific
dreams, I translated that information into a broader depiction of
dream types, rather than a singular dream. I picked dreams that
stood out to me and were significant enough to visually translate the experience.
My final thesis work possessed various uses of color, shape,
and symbols to represent the paradigm of common dreams as
well as provoking emotional response and curiosity. “Incubus”
represented nightmares, consisted of dark colors and sharp
edges, while “Hypnagogic” represented epic dreams using bright
colors and organic shapes. “Recrudesce” represented recurring
dreams by repeated pattern, and “Foreboding” represented
anxiety dreams with high energetic marks and paper cutouts of
teeth. All collages were 18 by 24 inches in size and similar
composition layouts, but revealed very different emotions,
symbols, and energies. In my work, line, shape, space, color was
used for meaning, while pattern, form, and texture were added for
aesthetic purposes. My collages had many layers represented
underlying hidden meanings dreams can possess. Consisting of
mixed media on drawing paper with layers of India ink, acrylic
paint, gesso, paper, Mylar, found materials, and pen, there is a lot of subject matter to contemplate. The
display of my senior thesis included four collages hung in the
DAAP Library Case in a square formation. Four collages seemed
an appropriate amount as a series, not too overwhelming and all
had a connection. The pieces hung on the wall without a border,
and the viewer could get close and see the many layers and
materials each collage had.
My art fits with the current art practice by using concept to
make formal decisions while creating visual work. My process is
guided by my concept when considering the color scheme,
symbols, shapes, and energy. My collages are a shared
experience open to interpretation, placing value in the viewer’s
ability to create their own personal connection to the work instead
of revealing specifics removing ambiguity. I find it valuable to
have mystery in artwork so the viewer is curious and creates their
own conclusions.
During this process, I learned about myself, what kind of art I enjoy making, and why I love being an artist. Interpreting shared
experiences from my own personal perspective and bringing
together separate materials to create something unique and
thought provoking is what I enjoyed most. From conducting
research, hours of experimentation, and final execution, my thesis
taught me the importance of knowing why I make the decisions I
do. After questioning and thinking about the reasoning behind my
thesis beyond my interest in dreams, I was able to come up with a
better concept which resulted in more successful work, as well as
having a better understanding of myself as an artist.
In conclusion, through research of dreams and
experimentation of various materials, my work evolved into
abstract collages depicting my personal
my personal interpretation
on the paradigm of dreams. My work contains emotion, self
discovery, and subconscious thoughts that can be related to a
general audience through shared experience of sleeping.

 

Appendix

 

 

 

In Progress Works throughout Thesis Production:

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Final Thesis Work:

 

thesis

 

THESIS DOS

“Incubus” 2016

18′ x 24′

Mixed Media Collage

 

THESIS UNO

“Hypnagogic” 2016

18′ x 24′

Mixed Media Collage

 THRESSSS

“Foreboding” 2016

18′ x 24′

Mixed Media Collage

 rrrrrrrr

“Recrudesce” 2016

18′ x 24′

Mixed Media Collage

 

 

 

 

 

Bibliography

 

“Dream Moods: Type of Dreams.” Dream Moods: Type of Dreams. 28 Mar. 2015. Web. 10 Oct. 2015. <http://www.dreammoods.com/dreaminformation/dreamtypes/&gt;.

Freud, Sigmund. The Interpretation of Dreams, Third Edition. Trans. by A. A. Brill. New York: The Macmillan Company, 1913; Bartleby.com, 2010. www.bartleby.com/285/. [16 Nov. 2015].

Hartmann, Ernest, Robert Kunzendorf, Rachel Rosen, and Nancy Gazells Grace. “Contextualizing Images in Dreams and Daydreams.” Dreaming 11.2 (2001): 97-104. Web. 3 Feb. 2016.

States, Bert O. “Dreams, Art and Virtual Worldmaking.” Dreaming: Journal of the Association for the Study of Dreams. 13.1 (2003). Web. 19 Mar. 2016.

“Sleep – Types and Stages of Sleep – REM Sleep.” Sleep – Types and Stages of Sleep – REM Sleep. Web. 21 Apr. 2016. <http://www.howsleepworks.com/types_rem.html&gt;.

Stokstad, Marilyn. Art History. 4th ed. Saddle River: Pearson, 2011. Print.

[1] “Dream Moods: Type of Dreams.” Dream Moods: Type of Dreams. 28 Mar. 2015. Web. 10 Oct. 2015. <http://www.dreammoods.com/dreaminformation/dreamtypes/&gt;.

 

[2]

Freud, Sigmund. The Interpretation of Dreams, Third Edition. Trans. by A. A. Brill. New York: The Macmillan Company, 1913; Bartleby.com, 2010. www.bartleby.com/285/. [16 Nov. 2015].

 

[3] Stokstad, Marilyn. Art History. 4th ed. Saddle River: Pearson, 2011. Print.

 

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Art Museum Bucketlist

Like many other artists before and after me, I want to go to as many art museums as I can. I think going to an art museum is one of my favorite past times, and I just really enjoy seeing artwork in a variety of spaces.

My personal goal is to visit various art museums around the United States, as well as internationally (I have yet to leave this continent, however) I do not count galleries or smaller museums, but rather larger, well known art museums when tallying up totals. I am not dismissing galleries or small museums as being unimportant, but I’d rather be in as many prominent art museums as I can be.

Art Museums that I have visited (this includes museums that are dedicated to just art, not museums of other nature or galleries)  thus far in chronological order include:

The Cincinnati Art Museum, OH (many many times)

The Art Institute of Chicago, IL, 2005, 2013

The National Gallery, Washington D.C. 2008

The Metropolitan Museum of Art, NYC,  2012

The MOMA, NYC, 2012

The Whitney, NYC, 2012

The Cleveland Museum of Art, OH, 2014

The Philadelphia Museum of Art, PN, 2014

The Dayton Art Institute, OH, 2015

I realize that this list is rather small for an artist and art lover that is 23 years old. I have not had the pleasure of traveling to a lot of states. But I would like to go to as many as I can!

The art museum I want to go to most is dedicated entirely to my favorite artist, Vincent Van Gogh. The Van Gogh Museum in Amsterdam would be on the top of my list, and I am determined to visit it before I die. I would prefer to go there over the Louvre!

If I were to go on a European trip, I imagine most of my time there would be spent in various art museums.

I will continue to update this list as I visit more. Hopefully I can add a new one each year!

Student Teaching Reflection

My goal in life is to be an art educator that practices making art on the side. I’ve always been passionate about art since a young age, and the career that will allow me to share that passion is being a teacher of the arts!

I am currently ready to enter my last semester University of Cincinnati’s school of Design, Art, Architecture, and Planning (DAAP). A bittersweet semester it will be, for I will miss college and art school, but I am ready to start my path to becoming an art teacher.

Before this semester, I had a Saturday school teaching experience, where I co-taught kindergarden level art with another future art educator/friend. For about 6 weeks we met with kids once a week and they created story books. Last year, we also taught and observed a few classes at my alma mater, Sycamore High School.

I had gotten a taste of teaching and really enjoyed it, but still wasn’t completely sure it was the career I wanted. I knew student teaching every day for a semester would give me more experience and a feel for how teaching really is. After being in a middle school and high school setting for a combination of around 14 weeks, I am pleased to say that teaching is what I am meant to do. I was sad to leave both placements at Princeton Middle School and Mason High School.

I was surprised to find that I loved the middle school age-honestly I wasn’t expecting that at all. I’ve had experience teaching kindergarden and grades 6-12. I have discovered that I can work with any age. I’ve always been good with kids and believe I can handle them at almost any age in school. After this experience, I have found that I would like to teach high school art the most. Of course, I will accept any teaching position that comes my way, but if I could teach high school students, that would fit my educator style the best.

After teaching an elementary art  class, photography, and digital art classes, I figure I would be able to teach anything art related-except ceramics. Unfortunately clay is one medium I can’t seem to grasp. I’d most like to teach a foundations art class or painting, but anything art related will make me happy.

What I’ve learned about myself is I have a good rapport with students. I am able to engage with them individually, evaluate their needs, and help them to the best of my ability. My mentors have noted this as well, and have told me I have evident enthusiasm and passion while teaching. Being likable, approachable, and helpful allowed me to form positive relationships with my students.

My biggest improvements include having a more authoritative “teaching voice” and being more confident in front of the classroom. Public speaking has always terrified me, but with students it is not as daunting and I’ve gotten better at speaking in front of a classroom. I also have gotten slightly better at discipline, although that is an area I wish to improve on. I don’t plan on being a strict art teacher, but wish to learn to balance being nice and fun while enforcing the rules.

I have learned so much in these past few months, mainly that there is so much more to teaching than everyone thinks. Even with all of the paperwork, long hours, and grading, I know it is what I want to do for the rest of my life, and my passion for art and my students  will drive me to be the best teacher I can be.

I can’t wait to begin teaching and be able to express my style and art education philosophy fully. The next step for me is to finish my edTPA, take my exams, and graduate! I’m looking forward to a future of art education and sharing my love for creativity with potential future artists.

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Senior Thesis Proposal

Latest Mixed Media Series: Reverie

This series, entitled ‘Reverie’ uses mixed media to explore the surreal and unknown aspects and psychology of dreams. Some elements of dreams are clear as day, while others are foggy and indistinguishable, and I represent this using many layers in my work.  ‘Reverie’ explores these symbols and the relationship between the subconscious and self awareness. Each mixed media piece explores a separate symbol in a dream, which leads to a new level of self awareness that the subconscious communicates through dreaming. Abundance signifies happiness and fulfillment of something, feeling satisfied and successful. Abyss represents the depth of the subconscious, revealing unknown or hidden feelings; symbolizing an obstacle creating anxiety and stress. Oasis is a search for emotional support in overwhelming circumstances. After discovering the meaning of these dream symbols, the dreamer is more self aware of their subconscious thoughts, which is a very revealing experience. Through many layers of mixed media, I invite the viewer to experience my dreams and subconscious in a visual way.

 

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Abundance

14×18 inches

Mylar & Drawing Paper

Mixed Media

(Acrylic, India Ink, Pastel, Watercolor)

 

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Abyss

14×18

Canvas

Mixed Media

(Oil Paint, Acrylic, India Ink)

 

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Oasis

14×18 inches

Mylar & Drawing Paper

Mixed Media

(Acrylic, India Ink, Pastel, Watercolor)

Exhibition Analysis: Space Signals

Bailey Dowlin

 

Senior Thesis Studio

Exhibition Analysis Worksheet

General Description of the Show

 

“Space Signals” 1305 Gallery 10/30/15 Opening Reception

Space signals is a show with two male Cincinnati artists using their personal aesthetics to create a narrative of some sort

 

The artists’ name(s):

 

Christian Schmit,

Artist Statement: I create sculptural scenes that depict the mysterious behavior of unseen characters. These dioramas grant the viewer a glimpse into private spaces, the kind of spaces occupied by obsessive types who spend their time building things, without thought of sharing their work with anyone. It is no coincidence that this mirrors my own behavior, as I sit at my table night after night gluing cardboard and paper together. I am the same as the man who for decades methodically constructs a vast model railroad in his basement. The only difference is that instead of constructing a model, I construct a model about the construction of a model.

 

David Wischer

Artist Statement:  My work functions, primarily, as an inside joke for a generation who grew up absorbing their worldly knowledge through television and the internet. I find myself both skeptical of and obsessed with the absurdity of mass media. That conflict, along with a penchant for satire and parody, is what influences the things I create.

 

How many pieces are in the show:  

 

Christian Schmidt: 7 Cardboard Sculptures

David Wischer: 15 Screen Prints

 

Describe the location/context of the exhibition space:

The  1305 Gallery is located in OTR. It is a very small gallery that is named from its address on Main Street. The gallery has goals with the Over the Rhine community to give rebirth to art resources.

Describe your perceptions on the content or idea behind the work:

The work  from Christian Schmit was very time consuming and detail oriented, models of people making art, I thought it was very interesting. It made me imagine the type of characters that would be in those little spaces, passionately creating work for themselves, and I really enjoyed that idea. I could relate because there is art that I have made for myself, or writing I’ve done for myself that no one else has ever seen or read, and it’s all about being therapeutic. This work made the viewer wonder about the character that would have occupied that space, and each sculpture was full of clues and details that helped the imagination create a non existing person.

 

David Wischer  had a more graphic style. His screen prints were simple and illustrative. The work made me think about lots of issues social media and television and how these elements of media impact everyone today. Using sarcasm and satire, he gives his opinion on these issues through a cartoonish illustration. It is apparent that he is somewhat disgusted over social media takeover in our society. Very relatable, but I did not linger on his work nearly as long because I feel it is work that I’ve seen a lot the past few years, and I’m not really used to seeing meticulous craft that was displayed in the  cardboard sculptures, which were both conceptual and amazing. WIscher’s work was satirical and witty, and I quite enjoyed a few of them. Aesthetically his illustrations had nice color that was pleasing to my eye, but again his work did not hold my interest as long.

Give Detailed Descriptions of the Following:

The method of presentation of artwork (media of artwork, size of artwork, and how it is presented- frames, mats, pushpins, pedestals, etc.)

All artwork of both artists was split in half, one side of the room had Christian’s work, the other half had David’s work. David Wischer’s work was framed and had lights highlighting each piece.

Schmit’s sculptures were on square pedestals mounted on the wall, allowing the viewer to see the detail of the work at eye level. Presented very professionally, and to highlight each work of art instead of a collection as a whole. I believe they created even spacing and a particular order for their work to be viewed.

 

The nature of the exhibition space (size, shape, ceiling height, formal, informal, etc.)

The 1305 Gallery is very small with wooden walls which provided an interesting background for the space and the work.. There was only one room, so when you entered the space, all of the artwork was there greeting you as you enter the door. There was some room to walk around, but a little cramped. There was also a back room for storage and whatnot, but all the art was divided in one room. Ceiling height was pretty high, and the walls provided enough room to hang quite a bit of artwork. The space is longer than it is wide. The gallery was very informal, being a hip gallery located in OTR.

 

The type and nature of the lighting in the exhibition space

Lighting was very and  more focused on the works of art. There was an overall lighting going on, but more attention was put on the works of art than lighting the space evenly. Because of the small size, the lighting seem a lot brighter.

The relationship of the art pieces to each other (physical and thematic)

Schmit and Wischer had artwork that did not really relate to each other. One was more sculptural and time based, the other was more conceptual and 2d. Could not be more different physically, because of the nature of the medium and the process. Schmit’s work had lots of small details to take in, while Wischer’s graphic style was more loose.  The sculptures were made out of cardboard and glue, not painted but the natural color, while the screen prints were bursting with lots of color. Both bodies of work had some similarities however. The amount of time it took for the creation of the cardboard sculptures as well as the process of screen printing both are long processes. Both bodies of work were conceptual and visually appealing as well. I don’t think that these works would normally be put in a show together, besides being conceptual and contemporary.

 

Other external factors (noise level, air currents, number of people in the space, etc.)

 The 1305 was a quiet, intimate setting to enjoy artwork.  I think the smallness of the space reflected that. I almost felt as though I were crashing a private get together, there were lots of people there that seemed to know each other, and I have never seen any of them before. The gallery seemed more crowded because of a  small space rather than attendance. Because there were a gathering of people in a small room enjoying art, there was not a lot of loud chatter, but more contemplative nature of talking.

             How the Presentation Method Affects the Art

Whether you feel that the method used to present the work supports and enhances or detracts from and

weakens its meaning for the viewer, clarify the criteria upon which you are basing this opinion.

 

I feel as though the presentation of the artwork worked very well with the works of art. The hanging and spacing of the screen prints and the mounted pedestals of the cardboard sculptures allowed the viewers to focus on one piece of art at a time. Splitting the room up between the artists made it obvious which work belonged to which artist, and the viewer could enjoy the works as a group and individually. The lighting of the space was very nice, and highlighted the works very well. However, I feel as though the space was so small, it was rather cramped and harder to enjoy the artwork. It seemed somewhat smashed together in one room, and it was hard to move around and navigate. If I were to visit the gallery when there was not an opening going on, it would be a great space to enjoy the art. However, with a decent amount of people crowded into a small gathering, it makes it hard to meander and take in the artwork effectively.

I believe there was thought put into the ordering of the pieces in this space. Although it was rather crammed, the order had a purpose to the show. I liked that they considered how the artwork was placed and the order, because of the  tightness of the gallery, they had to take into consideration how to best use the limited space they had.

Exhibition Analysis: “Playing with Barbie”

Bailey Dowlin

 

Senior Thesis Studio

Exhibition Analysis Worksheet

 

 

  • General Description of the Show

 

“Playing with Barbie”  Opening Reception 5-9pm  11/19 at Pop Revolution Gallery

 

The artists’ name(s):

Sue Kitzmiller Blaney

Artist Statement: This body of work represents my love of Barbie. While growing up, Barbie and I lived in an imaginary world where I was working as a fashion illustrator, living in New York and enjoying a fashionably chic life. My joy in developing this work begins with a sketch. I then use different media to bring the piece to life. The interplay of color and light also plays a major role in my work. I love working on the piece to create a sense of drama.

How many pieces are in the show: The featured artist had 15 paintings, and there were also 8 other artists who were showing work as well. Lots of paintings to look at!                            

 

         Describe the location/context of the exhibition space:

 

The exhibition space, located in Mason, is called Pop Revolution, and functions as both a gallery space and frame shop. The show was part of the gallery’s Third Thursday opening, every third Thursday of the month they showcase a featured artist and other artists around the area. “Playing with Barbie” was the featured artist that painted lots of oil and acrylic paintings of Barbies.

 

  1. Describe your perceptions on the content or idea behind the work:

 

The work had a nostalgic yearning for childhood love and memory of Barbies, no other content besides that. I saw that the artist was very interested in Barbies and had a fondness of them since childhood, and wanted to relive them by painting vintage Barbies in various compositions and styles. The way that Barbie was presented in these paintings made me think that the artist must have thought about her Barbies as more than just a toy, but a friend and fond memory of being young.

Give Detailed Descriptions of the Following:

 

 

  • The method of presentation of artwork (media of artwork, size of artwork, and

 

how it is presented- frames, mats, pushpins, pedestals, etc.)

 

Each Barbie painting was framed and hung in a circle around the room. Lighting was even throughout the entire room rather than being focused on each work. Walls were painted black which made the colors in her work stand out. Each painting was matted and framed, hanging with wires
The nature of the exhibition space (size, shape, ceiling height, formal, informal, etc.)

 

The Pop Revolution gallery is a very casual, informal space to sit and hang out. Ceiling height was high, and it is a rather large space with a separate room for the featured artist, and walls that separate a large square room that makes up the rest of the gallery that artists hang their work on. Another artist was painting a mini painting demo while the opening was going on in a corner, and there were a few tables of refreshments scattered about. Overall very informal, lots of talking, pretty loud, rather like a party scene.

The type and nature of the lighting in the exhibition space

 

Barbie lighting was even lighting, instead of highlighting paintings it just lit the whole room. The “featured artists” room was actually dimmer lit than the rest of that gallery that had other artists.  I felt that the rest of the gallery was well lit and it was easier to look at the artwork. Perhaps because the walls were painted black, it made the room seem a lot darker.

 

  1. The relationship of the art pieces to each other (physical and thematic)

 

The Barbie paintings worked as a series in the exhibition, each painting had a very similar style with a little variety. They could stand alone, but worked together as a grouping much better. Each painting represented Barbie is some form or another. Not only was the subject matter the same in each painting, but they were all matted and hung by wires in the same fashion, and all relatively the same size.

Other external factors (noise level, air currents, number of people in the space, etc.)

 

It was very noisy and crowded in the Pop Revolution. There were quite a few people for a Thursday night, I was impressed. Lots of people mingling and eating food. Because of the size of the gallery, there was plenty of room to mingle and chat without feeling too crowded, which was nice.

There was a guitar player playing in the room, which contributed to the noise level. There were chairs to sit and enjoy the art, which encouraged visitors to stay a while and hang out.

 

 

  • How the Presentation Method Affects the Art

 

Whether you feel that the method used to present the work supports and enhances or detracts from and weakens its meaning for the viewer, clarify the criteria upon which you are basing this opinion.

 

There was plenty of room in the Pop revolution, there were other artists and paintings showing, but Sue Blaney was the “star” artist showcasing her Barbie paintings. The room allowed her paintings to have plenty of viewing space, but the lighting could have been better to place emphasis on the paintings. The way the room and the lighting were set up encouraged more of an overall scan of the paintings, rather than drawing the viewer in to each individual piece. There was also an area where people could get things framed in the room, so it seemed to distract from the overall feel and mood of the room; making it seem like a frame shop rather than an entire room dedicated to a featured artist. I understand that the room was the only place that was separate from the other artists, but having the frame section in the room took away from the art for me personally. Having a guitarist in the room also brought extra attention to the featured artist, which was nice. As much as I enjoy live music, it was a little hard to concentrate on the work with the loud guitar music in the same room. He was also partially blocking one of the paintings, which i thought was rather strange and awkward to look the painting. There was less consideration in order and hanging of these paintings, they seemed to just be hung according to size of the painting and frame. I feel as though the room did not enhance the artwork, it just separated the artist’s work and brought extra attention to it. It functioned as a separation and highlight for the featured artist rather than taking into consideration the body of work. Overall, I personally think the space detracted and weakened the meaning for the viewer.

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My latest photography project! I made a series of enlargements of photographs taken of my father’s 1952 MG car. A historic vehicle, it makes for an interesting subject to take pictures of, especially on film. I made a close up crop, a regular photo, I dipped an enlargement that was slightly blurry in sepia, and I used a paintbrush to make an abstract photograph painting with developer.

I wanted to make a juxtaposition of developing techniques to show some of my photography students that are far ahead in class, and give them some inspiration of different ways they could play around and develop photos. Most of the photography students in the introductory level don’t experiment much with different techniques while in the darkroom, so showing them a few ways different developing techniques change and make the same photo more interesting will hopefully inspire them to play around and experiment more. As the semester is drawing to a close, lots of students have extra time and photo paper, so I’ll encourage them to use it creatively.

Darkroom Photos

I’ve been student teaching a high school photography class. In this class, they still teach film and darkroom photography, which I think is great! Although digital photography is more prevalent, I still think it’s important to learn the process.

Back in high school I took an introductory photography class, so I had darkroom experience. However, it took several attempts before I was successful developing a roll of film. Mainly because my Minolta I used in high school had a faulty light meter, and there were several problems with my Grandmother’s Nikon N5005 (which have since been resolved). When I finally had pictures come out, I was very excited to get in the darkroom and make some enlargements.

There is something very satisfying watching a photo develop on the photo paper in front of your eyes. I still have many more enlargements I would like to make, but I really enjoyed the process of taking photos and developing them myself. I’m going to miss having a darkroom to work in 😦