Well I have just finished my first ever month of Art Teaching! Despite being at work each day before my husband even wakes up, It is so far, my second favourite job ever. It is infinitely less stressful than teaching kindergarten, and much more enjoyable than working in an office.
(If you're wondering, the best job I ever had, was being paid by COFA to work in my studio during the Spring Fair).
I love making things, and I love making things with other people. I also love being better than other people at making things.(Even if they are only teenagers,trying something for the first time). So teaching art has been a nice fit, so far. (Although embarrassingly enough, there are plenty of 15 year olds who are better than me at lino printing, and many, many more who are much better than me at photography...)
Although I will say that If I wasn't an Art Teacher, I don't think I could handle teaching. I take my hat off to all the other teachers who can't count making a coil pot as part of their lesson preparation. I feel like I am slowly being buried under reports, more reports, marking, lesson planning, frantically trying to squash information into my brain so I can know marginally more than the students, and the endless endless list of requirements New Teachers need to organise for the Teachers Institute. Phew.
I have been really disciplined about not taking work home, but I can see how this could be an all-encompassing job for a lot of people. Fortunately for me, I have been teaching at a private girls school full of wonderfully institutionalised and enthusiastic students, meaning that classroom teaching is actually pretty fun, leaving me with enough energy after class to slowly conquer that growing mountain of paperwork.
There have been plenty of unexpected insights this past month. I don't feel like enough of a grown up to be responsible for so many teenagers, and this job has highlighted just how blunt, impatient, and cranky I am. Sometimes when I speak to children they look as though they want to cry. eesh...It startles me each time a student asks me for help, as if I know stuff, and I've found myself saying lots of possibly untrue things with certainty. I dread questions in Art History lessons, because the three sentences I just verbalised about Romanticism, was actually the extent of my knowledge of the movement...
One unexpectedly difficult thing about this job is the professional dress code. I am not allowed to wear jeans, trackies, leggings, or anything I would normally wear for art making. Consequently, I am still working out how to teach art in a pencil skirt. Its tricky, trust me.
A sample of some of my recent work to whet your appitite for MY exhibition in October! Details to come.
Censorship in art often irritates me. I realise it is sometimes necessary, particularly when protecting the rights of children and young people. However I generally think that so long as a gallery warns viewers at the beginning of an exhibit that politically sensitive, sexually explicit or violent work lies within, then viewers can assess the risks for themselves. Artists shouldn't be denied the opportunity to express a perspective, and audiences should be able to view and respond if they wish. I personally object to bureaucracy making these decisions on my behalf. If I choose not to see a particular exhibition, then I want that to be my choice. From time to time I ponder about censorship, when it should be used, and who should make the decisions surrounding it. However, recently I came across a situation where the use of censorship prevented a particular community from growing, learning, and potentially understanding new perspectives. Amnesty International's photographic exhibition of asylum seekers was banned from a WA library for fear it would offend patrons. I imagine the kinds of people who would be offended by an exhibition like this, are exactly the audience Amnesty was hoping to reach. Even if it were a rude, controversial, and insensitive exhibition, (which it's not) what would be wrong with allowing people to view the works and respond?! Why does learning about alternative perspectives scare some people so much? See the full exhibition here All images taken from http://www.amnesty.org.au/refugees/comments/27582/
Well friends, I have a painting in a group exhibition at ESP Gallery Marrickville. The theme for the exhibition is Love and Death. Opening is 4-6pm, Sat 25th February at 228 Illawarra Rd, Marrickville. I would love it if you could come :)
There are embarrassing gaps in my knowledge of art history. Well actually just one big gaping absence of knowledge of any kind of pre-Modernist art. (Thanks COFA...) So in an attempt to rectify this, I hauled myself down to Canberra to see the Renaissance exhibition. Loved it! I came away wishing I knew more about Catholicism and the art of that period, as most of the symbolism was lost on me. I did however overhear the tour guide explain that cucumbers symbolise resurrection?! I won't review it because this lady has already done so in a much more insightful and knowledgeable way than I could ever hope to do. However, I will say that this Botticelli was my favourite in the exhibit. It might even be my favourite painting ever (for now). If you look closely, you can see that Jesus got dressed that morning in a special robe complete with an embellished slit in order to show off his wound.Which the artist conveniently re-located from his side to the middle of his chest for the sake of the composition. It's hard to see in this image, but he is actually leaking holiness from his hands, which I find hilarious.
Sandro Botticelli - Christ the Redeemer c. 1495 - 1505. Tempura and gold on wood panel
My second favourite painting was Tura's bizarre depiction of a muscular baby Jesus.I'm pretty jealous of those calf muscles.
Cosme Tura - Madonna and Child c. 1460 - 1465 - Tempura and gold on wood panel
One thing I took from the exhibition is that trying to depict indescribable themes (God, eternity, transcendence) with representational forms results (in this exhibition anyway) in bizarre and hilarious images.
On another note - SINCE WHEN HAS CANBERRA HAD SUCH AN AMAZING COLLECTION OF MODERNIST ART AND WHY HAS NO ONE TOLD ME ABOUT IT??!!Monet, Duchamp, Magritte, Miro, Warhol, Yoko Ono, Lichenstein, Oldenburg, Rothko, Pollock, Freud, Bacon.
I nearly wet myself with excitement. I'm pretty cranky that this is the first I've seen of this nest of treasures, and I am now resolved to make it to Canberra more than once a decade.
*For the observant among you - yes the banner to the blog has been changed. It's a detail of a new work of mine Collaborative Unconsciousness. 2012. Oil on Canvas
Images taken from :http://nga.gov.au/Exhibition/RENAISSANCE/Default.cfm?MnuID=3&GalID=0
I severely dislike couple photos printed on canvas, embroidered bible verses, paintings of dolphins / kittens / sunsets over mountain ranges, accessories featuring diamontes, pointless wedding bonbonniers, Christian t-shirts, and teenagers with their life mottos tattooed on themselves. If these things also make you nauseous, then this discussion on Christianity and Kitsch is for you.
Well this week was a bit exciting. Actually the excitement starts about a month or so ago when I sold a painting! (This is such a rare occurrence that it still rates a mention.) It was actually bought by one of high school art teachers, which is only slightly better than selling it to my mum....However, the really exciting part was the extra cash I suddenly had, which I very sensibly immediately spent on some extravagant purchases.
I am now the proud parent of some brand new acrylics, some new paper, and a set of gorgeous watercolours. Hurrah!
In further exciting news, a friend leaving the country gave me these:
I am not sure yet how I'll use them, but the student in me just could not say no to free paint.
_Yesterday I was fortunate enough to make it to Cockatoo Island for Outpost, a FAN-tastic exhibition of street art. (think spray cans, stencils, skating, break dancing, MC's using words I've never heard before, kids in baggy clothes making weird hand gestures...) I loved it. For starters Cockatoo Island is one of my favourite places in Sydney, but mostly I just enjoyed feeling a bit naughty watching illegal art all day. But seriously, the skill of a lot of these artists was incredible. If you have ever tried to wield a spray can, you will know how difficult it is to produce anything recognisable. (The paint has a sneaky habit of ending up in places you'd never expect). It ends on the 11th Dec, and I can't think of a better way to spend a sunny Saturday, so hurry up and go! _There was an exhibition of Banksy works as well. I'll admit I went along more for the celebrity factor than anything else, but regardless of what you think of him, you do have to admit he has a gift for selecting the right images to make a sharp statement.(My favourite is the one of the Queen).
Loved the break dancing! These kids were incredible. You have to wonder where and how someone would even learn these kinds of moves.
I do have to say though, that I was a little disappointed with the under representation of female artists. I know graffiti being illegal and all tends to lend its appeal to boys, but still. Nonetheless, I saw some awe inspiring works, an I think it was a pretty successful example of engaging the general public with art.
_My good friend Chris Ross is in an exhibition at Paper Plane Gallery. It's very good, and you should all go and see it. It's open until 18th Dec 2011 at 727 Darling St Rozelle. Opening hours are Mon - Fri: 12 - 6, Sat-Sun: 11 - 4. _ Chris's portraits in this show have an immediate and raw element. They're simple, refreshing and there's a lovely linear quality which I loved. They are also very affordable, and if I had a job I would definitely purchased one. Go and Buy! so Chris can afford to keep making more excellent works.
Chris Ross, Chris Ross No.9, 2011. Ink on canvas.
Images in this post taken from: http://www.chrisross.info/news.html, http://www.paperplanegallery.com/current.html
This blog is named after a book I'm reading at the moment: The Creative Call by Janice Elsheimer. She writes about how to live a more creative life from a Christian perspective, but it's helpful for anyone I think. She encourages those of us who feel compelled to make and create things, not to ignore that feeling, but to nurture it. She talks about how to manage self-doubt and artists block giving really practical advice - such as how to prioritise art-making when managing your time and budget, and the need to have a set space for your art.
Most importantly however, she has made me think a lot about why I create, a daunting question indeed. I hope to explore some of the issues this book raises throughout this blog, as a process of working out what I think, and it's practical implications.
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