Sunday, March 24, 2013

Donna Cleary

Donna Cleary:
displace: 8 x 7 x 7 inches paper trash, plaster, 2013

Donna Cleary: detail: aberration, 51 x 29 x 8 inches paper trash, foil, wire, paper mache, 2013

Donna Cleary: aberration, 51 x 29 x 8 inches paper trash, foil, wire, paper mache, 2013

Donna Cleary: transfigure: 61 x 11 x 11.5 inches, paper trash, reclaimed wood, paint, plaster, plastic, foil, 2013

Donna Cleary, detail: transfigure

Jessica Jackson Hutchins: Pieta, chair, glazed ceramic, plaster, and wire
60 x 42 x 36 inches,Laurel Gitlen, 2011

Jessica Jackson Hutchins, Rondamoo,chicken wire, plaster and textile, dimension unknown, 2012 Hepworth Wakefield

Still life with chair, bowl and vase,

Chair, plaster, collage and salt-fired ceramics

109.2 x 91.4 x 78.7 cm

2008 Derek Eller

Jessica Jackson Hutchins, Love seat and bowls,

Loveseat, plaster, fabric, and ceramics

156.2 x 105 x 133.4 cm, 2008, Saatchi Gallery

Jessica Jackson Hutchins, Couch for a long time, Couch, newspaper, ceramic, 76 × 29 × 35.5 in, 2009, Whitney Biennial

Jessica Jackson Hutchins, "S.M.", chicken wire, plaster and textile,43 x 90 x 32 inches, 2010

1. Who in the contemporary art world has had the biggest influence on your work?

2. In the Artinfo article of 2009, your work was described as "intentionally unskilled" (http://www.artinfo.com/news/story/30148/jessica-jackson-hutchins). Can you describe your process and the aesthetic decisions that you make.

3. In that same article, Camela Raymond describes your work as "emotionally raw" and "a searching for authentic encounters with the 'real'". In the 2012 W magazine article (http://www.wmagazine.com/artdesign/2012/09/jessica-hutchins-artist), you bravely discuss your personal history. How do you decide how much to reveal and conceal and how important is it to you that the viewer knows how the work relates to you personally?

Bio:

http://laurelgitlen.com/artists/jessicahutchins/Hutchins_bio.pdf

Friday, March 22, 2013

Yeonji Kim

Untitled

Paper on fabric

Untitled 2

Paper on fabric

Untitled 3
Paper on fabric

Beili Liu

<Questions>

1. Some people put a bigger emphasis on visual rather than a theme or others do not, and some people think materials is the most significant on installation and sculpture. So, I just want to know what is the most important on your work and how do you organize your thought and idea when you start your work?

2. I feel that the materials you chose pretty represent feminism. Is feminism closely related to your work and are you trying to draw emotional response which women easily catch and feel.

3. What do you intend viewers feel when they look at your work because some of your works stimulates unsettling emotion. So the photo is a part of your whole installation or is is just a sort of a passing performance?

ANDREA ZITTEL

A-Z Cellular Compartment Units, 2001

A-Z Cellular Compartment Units, 2001 (detail)

A-Z Wagon Station

HIGH DESERT TEST SITES

A-Z Carpet Furniture: Cabin, 2012 (textile) 12' x 16'

A-Z Breeding Unit: For Averaging Eight Breeds, 1993

(steel, wool, glass, and electronics) 72"x171"x 18"

A-Z Wagon Station, 2010

QUESTIONS FOR ANDREA ZITTEL:

The press release from your 1993 'Purity' show at Andrea Rosen states that, "Andrea Zittel perceives progress as a manufactured reality." Do you still agree with that statement? If so, will you go into more depth.

In your 2002 interview with Supernaturale, you said that craft leads to an "empowered consumer, and (the ability) to be your own ultimate authority." Your prototypes are dotted throughout the High Desert of California, and in gallery spaces around the world. How do you feel about your inventions being used in the context of disaster or refugee housing? Does your previous quote still apply in that context?

When referring to A-Z, you often say "we" and "us". Is A-Z a brand" And if so, is the gallery a vending machine for your products?

LEAH DIXON