I found the student show to be exciting. Having a hand in the production of the gallery was, also exciting and rewarding because the time and effort could better be appreciated. There is a lot that goes on behind the scenes to make the end result a wonderful experience.
Preparation of the walls, floor, pedestals are what some may seem to be a given but it is truly important. The intake and documentation are crucial to everything going smoothly, and then of course the handling and placement of each piece.
The gallery structure is, what it is, and by comparison a pretty nice venue for students and artists overall, in my opinion. In conversation with some people that have been around for some time it has evolved to a much nicer area. And in time should continue to evolve (time will tell).
Anyway. The juror naturally has a hard job to do and it is one that I would not really like to take on, thankfully there are those with the stamina to embrace that work, thank you Glueklet.
After all the prepatory assignments hanging and getting the last of it together it was eye opening to see the production ready to be shown, very nice to see these pieces in the gallery. There was a tuxedo affect, in other words , if a person saw it in class critique, at the hands of the artist, or you personally had a negative feeling about a piece the gallery, the lights, and the overall presentation made everyone's art pop. The show was outstanding.
Good job by all.
Sunday, April 19, 2015
Sunday, March 1, 2015
Press Release
FOR IMMEDIATE RELEASE: December 5, 2015
MSUB Student Gallery Presents:
Mud Work, Functional Clay Objects
A Capstone Exhibition by Lorraine Cronin
Decemeber 5-19, 2015
Closing reception December 19, 2015
The Inner Student Gallery is located on the 1st floor of the Liberal Arts Building On the Montana State University Billings Campus. Hours: 8-4 M-F or by appointment.
Mud Work, Fuctional Clay Objects by artist Lorraine Cronin explores earthenware pottery using various surface textures, glaze colors, and mason stains to create a body of work. Hand building and mold casting are the techniques used most in heer work. She is motivated to intergrate the possibilities of up-cycling items with ceramics for other interesting sculptural items.
"Upcycling can be very inspirational. Molding clay and making an attachment to some found object can make for outstanding sculpture."
This is Ms. Cronin's Capstone Exhibition and graduating with a this year BFA she intends to begin a studio that offers pottery classes to the public. Continueing to make work and explore the endless dynamics of pottery she is looking
forward to being a studio artist.
The exhibition and reception are free and open to public.
For further information: lorraine.cronin@msubilling.com
Friday, February 27, 2015
Ch.4 and Ch.9
Provenance is the documentation of artwork, from the conception to the owners, and right up to present day. This gives credence to the art and legitimizes the value. Regarding the attribution question I believe that the many art owners would be in the poop if there were a huge withdrawl of set opinion on many of the artworks out there. And in the end it is probably technology that is the major shift taking place.
The Fountain was certainly an out there idea. Even today it could be looked upon as offensive or ridiculous. At the time it was an important shift to art and perhaps I would have allowed it, but the item in question, a urinal, was.... still the ready-made concept was good one, and it change the meaning. I think it is important to recognize that there are people that make decision about what is art, and we are not all the same.
The Fountain was certainly an out there idea. Even today it could be looked upon as offensive or ridiculous. At the time it was an important shift to art and perhaps I would have allowed it, but the item in question, a urinal, was.... still the ready-made concept was good one, and it change the meaning. I think it is important to recognize that there are people that make decision about what is art, and we are not all the same.
Friday, February 20, 2015
Exhibition Calls
First the call information begins with a description of what they are looking for regarding content.
I found that most of the 'calls for artists' were very organized: title of the exhibition, dates of showing, deadlines for submissions, dates for the accept/decline, and the delivery of the artwork. All this as part of the important dates.
Then there is the eligibility information, the jurors and the awards. Some of the last tidbits of information are the restrictions and the fees, also contact numbers and additional websites for clarification, so it all seems pretty standard and generic.
I believe that some of the awards are really good so it is the positive part of the call, also a single artist can include 3 images for the one fee. good! As a negative sometime the call juror is in fact a singular juror, so all the art is subjective to that one person.
There seems to be a straight forward approach to the design and that is something I like. There is so many considerations for the call that too much fluff is distracting. So, clean to the point information is, in my opinion, the best reflection of the site.
I have the print outs with my additional comments and apologize for being out today. See you on Monday to make ready for the new installation.
I found that most of the 'calls for artists' were very organized: title of the exhibition, dates of showing, deadlines for submissions, dates for the accept/decline, and the delivery of the artwork. All this as part of the important dates.
Then there is the eligibility information, the jurors and the awards. Some of the last tidbits of information are the restrictions and the fees, also contact numbers and additional websites for clarification, so it all seems pretty standard and generic.
I believe that some of the awards are really good so it is the positive part of the call, also a single artist can include 3 images for the one fee. good! As a negative sometime the call juror is in fact a singular juror, so all the art is subjective to that one person.
There seems to be a straight forward approach to the design and that is something I like. There is so many considerations for the call that too much fluff is distracting. So, clean to the point information is, in my opinion, the best reflection of the site.
I have the print outs with my additional comments and apologize for being out today. See you on Monday to make ready for the new installation.
Friday, February 6, 2015
Vanessa German
Functional considerations:
Yes, the traffic flow has been considered. Bottleneck problems could only happen at the entrance of this small gallery. It is literally a bottleneck entrance, and would of course need to have several people entering at one time to create a problem.
All exhibition materials within the art is found, or antique objects that on their own seem durable, but in the construction of the piece I really could not say. Looks like it is durable.
Because the sculptural pieces approximately two to three feet tall and observed on pedestals 18 to 36 inches tall and the labeling discretely to lower left, all seemed comfortable to me.
The positioning of all the pieces seemed uncluttered and spacious to me and inviting to anyone with a disability. Naturally, if someone were to trip on their own shoelace and stumble into a piece then yes disaster could happen. But most entrants are mindful of the fact they are going into an area that command a measure of respect, I believe.
I believe the chosen typography is easy enough to read, because I am used to it.
Formal considerations:
I think of the aesthetic value of the typography is legible and effective. Neither detracting or complementing the pieces they are informative and subtle.
The visual components in this exhibition were placed in such a fashion that the flow from one to another could happen seamlessly. At first you come in contact with Old Glory, your eye picks up the same colors within a nearby piece, and the relationship of pieces to one another helps to move a person along. Front and back are singularly appointed a light and area that that says prominence. This one way to achieve hierarchy.
Visual style is a constant within this particular show.
Conceptual consideration:
Overall message, women of color particularly are on unstable ground in the world.
I believe that this exhibition has a linear sequence just by virtue of the set up and entrance.
It is an effective sequence.
Visitor Observation:
The most and least popular aspects of this exhibition for under 25 visitors, maybe not having any kind of cultural awareness, but I really do not know.
The most and least popular aspects of this exhibition for over 25 visitors, maybe having more cultural awareness, but again I really do not know.
The experience of the art is both individual and shared, but that would be dependent on the excitement felt and ability to communicate.
Seating would be the only change, I would have some (one at least).
Yes, the traffic flow has been considered. Bottleneck problems could only happen at the entrance of this small gallery. It is literally a bottleneck entrance, and would of course need to have several people entering at one time to create a problem.
All exhibition materials within the art is found, or antique objects that on their own seem durable, but in the construction of the piece I really could not say. Looks like it is durable.
Because the sculptural pieces approximately two to three feet tall and observed on pedestals 18 to 36 inches tall and the labeling discretely to lower left, all seemed comfortable to me.
The positioning of all the pieces seemed uncluttered and spacious to me and inviting to anyone with a disability. Naturally, if someone were to trip on their own shoelace and stumble into a piece then yes disaster could happen. But most entrants are mindful of the fact they are going into an area that command a measure of respect, I believe.
I believe the chosen typography is easy enough to read, because I am used to it.
Formal considerations:
I think of the aesthetic value of the typography is legible and effective. Neither detracting or complementing the pieces they are informative and subtle.
The visual components in this exhibition were placed in such a fashion that the flow from one to another could happen seamlessly. At first you come in contact with Old Glory, your eye picks up the same colors within a nearby piece, and the relationship of pieces to one another helps to move a person along. Front and back are singularly appointed a light and area that that says prominence. This one way to achieve hierarchy.
Visual style is a constant within this particular show.
Conceptual consideration:
Overall message, women of color particularly are on unstable ground in the world.
I believe that this exhibition has a linear sequence just by virtue of the set up and entrance.
It is an effective sequence.
Visitor Observation:
The most and least popular aspects of this exhibition for under 25 visitors, maybe not having any kind of cultural awareness, but I really do not know.
The most and least popular aspects of this exhibition for over 25 visitors, maybe having more cultural awareness, but again I really do not know.
The experience of the art is both individual and shared, but that would be dependent on the excitement felt and ability to communicate.
Seating would be the only change, I would have some (one at least).
Billings Depot
January 30th, 2015
We all met at the Billings Depot to prepare for the upcoming art auction for both the faculty and students. This was a very exciting opportunity to have the hands on to what we were learning in class and there were many challenges to work through too.
My decisions were part of a group , so they were in fact offered up as opinions, and the collected reasoning forming the presentation. I believe that our first move was a consideration of the available pedestals and easels to work the artworks in our control. We then made decisions regarding the weight, size and compositional pieces. And right away it was the largest sculptural piece would be our anchor.
This was a airy wooden sculpture by Zack Hinkle which had the center window light and place of the entire gallery. This anchor piece unfortunately did not have a pedestal which in my opinion was crucial for two reasons; first, the need to elevate it in this public area, and second for the protection from the foot traffic. However, our resources were limited.
There was an important determination to have the center easels back to back to create a corridor and to aesthetically finish our area of concern, this also created a horseshoe path around the room, organization around the fragile wood easels.
Later, we had a conference with Leanne and determined that the large digital image with strong political issue, by Brenna Lacey, would head our section of the gallery. We had no way of knowing how the traffic flow of patrons would come through so beginning and end pointed into our section.
Smaller pieces became fillers and there was difficulties finding just which ones should go where and how will they be displayed as our resources became nil. Groupings of colors, visual interest, and subject helped out on that as we came to the end. As I thought then and there it seemed like a lot to place in this one area, but there it was finished. It was really nice to see the overall gallery and the flow of the other two sections coming together.
Good job done by all!
If I knew how to upload pictures from my phone I would do it, pictures to follow......
We all met at the Billings Depot to prepare for the upcoming art auction for both the faculty and students. This was a very exciting opportunity to have the hands on to what we were learning in class and there were many challenges to work through too.
My decisions were part of a group , so they were in fact offered up as opinions, and the collected reasoning forming the presentation. I believe that our first move was a consideration of the available pedestals and easels to work the artworks in our control. We then made decisions regarding the weight, size and compositional pieces. And right away it was the largest sculptural piece would be our anchor.
This was a airy wooden sculpture by Zack Hinkle which had the center window light and place of the entire gallery. This anchor piece unfortunately did not have a pedestal which in my opinion was crucial for two reasons; first, the need to elevate it in this public area, and second for the protection from the foot traffic. However, our resources were limited.
There was an important determination to have the center easels back to back to create a corridor and to aesthetically finish our area of concern, this also created a horseshoe path around the room, organization around the fragile wood easels.
Later, we had a conference with Leanne and determined that the large digital image with strong political issue, by Brenna Lacey, would head our section of the gallery. We had no way of knowing how the traffic flow of patrons would come through so beginning and end pointed into our section.
Smaller pieces became fillers and there was difficulties finding just which ones should go where and how will they be displayed as our resources became nil. Groupings of colors, visual interest, and subject helped out on that as we came to the end. As I thought then and there it seemed like a lot to place in this one area, but there it was finished. It was really nice to see the overall gallery and the flow of the other two sections coming together.
Good job done by all!
If I knew how to upload pictures from my phone I would do it, pictures to follow......
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