ART342

Archive for October, 2012|Monthly archive page

Meet Past Resident Jessica Kreutter

In Uncategorized on October 20, 2012 at 8:33 pm

Jessica Kreutter was a resident two years ago this fall. Here’s what she’s been up to!

Since your time at ART342 what new routes has your work taken?

Since I have been at ART342 I have been traveling to many different
residencies. Through these residencies, I have been able to constantly produce
work so each piece builds upon the next but I have the time to follow each new
fork in the road. I have been thinking about bigger spaces but making smaller,
more repetitive objects to fill those spaces.

What do you remember the most about your residency at ART342?
The sun setting behind the mountains while horses graze and the people I met there.
Do you have any upcoming exhibitions?
I will have an exhibition at Shift Gallery in Seattle. Details TBA
Check out more of Jessica’s work at:

Advertisements

Meet Current Artist-in-Residence William Wylie

In Uncategorized on October 15, 2012 at 9:43 pm

William Wylie, current artist-in-residence, answers questions about his work….

What is your medium?

I work with both photography and video.

What are the main concepts your work deals with?

I mainly work with the concept of Place. I am interested in how a location or
geography becomes a part of the human experience with a particular place. I have
become more and more involved in ‘communities’ of sorts such as the stone
cutters in the marble quarries in Italy or the people who live in rural areas
like along Route 36 in Kansas or out on the prairie in eastern Colorado. The
history of a communities involvement with a place has a visual aspect that I try
to reveal. Sometimes it works best with still photography and other times it
need the temporal element of video.

What does a typical day in the studio look like?

I don’t have a typical day in the studio. I work in the field to produce raw
materials of negatives or video footage. Then I either print that work (some of
my work is still made in a darkroom) or edit the video at a computer. I envy
those artists that have the discipline to go to the studio every day and work.
That is the necessary practice of being an artist and I found a way that fits my
makeup…I am working all the time, just not in the same way each day. Plus I
love being out in the light and air and moving around seeing things in the
world.

What will you be working on while a resident at ART342?

I have come to ART342 to work on a film about the Pawnee National Grasslands on
the eastern plains of Colorado. The space and light out there are amazing and I
have loved the area since the 1970s. The film is to be a documentary piece
focusing on a small rural school and in particular their football team. Because
the school is small they play a unique form of football which has only six
players on each side. The game is unique to small rural communities and is a
great microcosm of wonderful people and exciting events (Friday night games
under the lights!).

Artists-in-Residence Answer Questions from the Community

In Uncategorized on October 12, 2012 at 10:55 pm

This Wednesday members of ART342 and the Fort Collins community joined us for a reading and panel discussion with our current artists-in-residence. After Joy Wood read a short story, “One Legged Army” the panel answered questions from the audience. Their answers to some of the questions are summarized here…

How do you finance your life so you can do residencies?

Residents have a few tricks up their sleeves for finding money to make doing a residency a viable option.  A lot will get support through grants, and while ideally an artist, writer or musician would live off of sales of their work; this is not always the case. Commissions and occasional sales do help however. Some ART342 artists do have gallery representation back at home which helps with work sales.

Where do you find information on residency and grant applications?

What do you look for in a residency?

Artists tend to look for places they haven’t been to for a residency. A lot of our residents’ work is affected by their location so if they haven’t been somewhere it has potential to change their work and cause growth in significant ways. They also look for residencies that give them a stipend and provide networking opportunities. A lot of them also agreed that the more time at the residency the better because it gives them longer to develop their work.

 

Exhibition of Fall Artists-in-Residence Opening

In Uncategorized on October 8, 2012 at 8:52 pm

Viewers checking out the work on display

Last Friday was the opening of an exhibition of ART342 Fall Artists-in-Residence at the Center for Fine Art Photography. This Wednesday at noon will be a panel discussion and reading at the exhibition site.

 

Andy Brayman’s piece in the exhibition

Work from William Vannerson (in foreground) and William Wylie (photographs in the background)

Meet Current Artist-in-Residence William Vannerson

In Uncategorized on October 1, 2012 at 10:40 pm

William Vannerson is another new artist-in-residence at ART342… see what his work is about:

What is your medium?

My medium is primarily sheet metal–a good 95% of my output is steel 1.5mm or thinner. Metal work is such a rich medium that I never get bored with it. In fact, sometimes I delve into the technical aspects to the point of distraction. My own practice is fairly straight-forward though. I cut panels of out of flat stock, over half of which is scrap, then hammer and shape these as I see fit. Next, I weld these panels together at the edges to compose new volumes.

What are the main concepts your work deals with?
I cringe at the word “concept” because, in this context, it reminds me of “conceptual art.” I pay attention to art because I want to *see* something new and great; if I’m not visually arrested, I’m out the door. That said, my work bears many formal quotes from some of my favorite things to encounter out in the real world such as agricultural and power-generating machinery, HVAC, produce, invertebrates, ethnographic sculpture, functional-yet-decorative architecture. Thematically, the work most consistently suggests a disconnect between humans in a post-industrial, consumer society and the infrastructure around them.
What does a typical day in the studio look like?
I usually arrive at the studio between 9 and 10 in the morning unless I have to cook a pot of beans and rice for the next couple of days. I try to arrange my practice so that I leave the night before right in the middle of some minor breakthrough or at least at a clearly defined next step. I find that it’s easy to lose whole hours in the morning if you have to putter around looking for something to do. There are three workstations set up in my studio at the moment: a cutting table and arc welding station for larger pieces, a cardboard model-making area where I have a hot glue and scissors at the ready in case I need a quick design solution, and a small “pulpit” for torch welding where I put together my miniature sculptures. People ask me if these are maquettes for the real sculpture and I have to say “These are the real sculptures; they’re just small.”
I bring my lunch with me and take a couple or three coffee breaks during the day. If I get stuck on one piece, I’ll move to a different station to see if anything new suggests itself since the last time I visited whatever’s on the workbench. If nothing else, there are always parts I could be manufacturing. I keep a stockpile of patterns, so I might select a shape or two and spend the next couple hours cranking out these shapes while my mind wanders to possible solutions for the current impasse.
What do you anticipate working on while at ART342?
My work at Art342 is off and running, though a bit lacking in focus. I suppose I’m still getting over the embarrassment of riches of having all this time to create and having all my gear in one place after spending the last 5 months overseas with whatever I could fit in a small tool bag. I have a few bodies of work that I want to revisit, at least to begin with. It’s a sad thing to repeat oneself, but I think there is plenty of room for new things within the frameworks of these previously established suites of sculpture. I’m also kicking around the idea of combining a conceptual thread or two from my time overseas with some of my existing inquiries to arrive at a new series. I keep talking about “bodies of work” and “series.” It’s just how I prefer to visual my output. There’s a taxonomic visual logic to it that appeals to me.