I am Artist, Michele Vavonese

Here is our latest I am an Artist interview from LA artist Michele Vavonese.  Although this month Art is Moving is in Utah, virtual reality wins with a spiral accord. Lauren and I were so happy that Michele contacted us for an interview. Our process here at AIM is really organic and what ever comes up in our flow is always perfect.  We just want to instigate a dialogue about art and its supreme importance in this world. And equally as important we want to hear as many individual voices as possible!
Enjoy the interview. I did!!! Michele is very insightful and as a fellow art advocate and animal rights activist I appreciate her creative vision!-Lisa

Michele Vavonese

www.MicheleVavoneseStudio.com

Why are you an artist? 

I became an artist for much the same reason that a mathematician becomes an engineer or a chemist becomes a Pharmacologist. Creating art is something that I both enjoy and was skillful at, and I channeled that passion and talent into a career. Being an artist is of course more complicated and rich than that, but that is the sincere base of it for me.

Other generous benefits I've found to being an artist is that it has allowed me to present and discuss issues that I feel are important in our society, such as animal rights and the death penalty. It has given me the avenue to be creative and produce in a very consistent way that I think very few people get to experience.

Being an artist has also been a gateway to meeting other people/artists/activists who are passionate and active in areas that I pursue, such as animal rights. It has also allowed me to contribute to activist organizations through the donation of my paintings for fundraiser's and in other ways, that on my teacher's salary I would not normally be able to do.

What does art mean to you?

Art to me is many different things. It is the most powerful and meaningful way for me to express my thoughts and ideas, it is a means to communicate, it is a source of income, it is a connection to others, it is a skill I can teach and share, it can be a frustrating nemesis (when things are not going my way) and it is a skill I have that I take pride in and continually work on.

Why do you use the medium that you use?

I use a variety of mediums. I have formal training in sculpture, ceramics, fabric arts, illustration, jewelry making, drawing and painting. Today I mostly stick to collage, drawing and painting. I work as an art instructor most of the week, so therefore most of my own artwork gets done when I can get to it. Also, those mediums have also been best suited to my work space which, due to the recent downturn in the economy, has been my living room!

How does nature and your environment influence your creativity? & Tell us why you sometimes use animals in your subject matter.

Well, nature and the environment are my creative influences! As a vegetarian (desperately trying to become vegan!) I have a deep belief that all creatures are sentient beings that have the right to not just exist but to live a full and trauma-free life. In my series of paintings called "Animals in Our World", I portray animals commonly used in agribusiness, face on and looking at the viewer. These are respectful, quiet portraits meant to let the viewer connect with the animal. In my shows I include an explanation along with each portrait that gives info on that animal such as their high intelligence levels and their sophisticated social and group needs and behaviors. And then on a side table I will have PETA literature and other informational brochures available if people wish to learn more about how these animals are abused and exploited and how our environment is being devastated by the toxic pollutants put out by these various animal product-based businesses: and what are some things that individuals can do to help .

In one of my other series called "The Hiding House" I paint scenes of interiors that include everyday characters that most people are familiar with, such as chairs, staircases and flying drapes being pushed by the wind. People really connect with these works and they often see the quirkiness, darkness and placidness of the pieces.

How do you come up with your compositions?

The blank piece of paper can be overwhelming and oftentimes if I have an idea but am at a loss as to how to formulate a visual narrative for it, I will go to the Internet and start to look up reference images of my subject(s). Whether my composition's subject is a cow or a chair, it will tend to be realistic in style so I will often have to find source materials (usually photos) that depict my subject in different lighting situations, angles and so on. It is from the gathering of these reference materials that the ideas will then start flowing.

Once in a while the composition will just pop into my head. This inspiration is much more rare, but welcomed all the same.

Social Question: Check out this article. http://www.huffingtonpost.com/john-m-eger/the-arts-are-not-a-frill_b_721674.html

I think one of the reasons people become so intrigued with the idea that somebody actually chooses to become a visual artist is because it is so undervalued in our society. Visual and performance arts are considered 'fun' or an 'enrichment activity' or a 'hobby' but they are generally not viewed as an 'intellectual pursuit' in the same way that other areas of study are. This idea is what the article "The Arts Are Not a Frill" by John M. Eger (which can be found at: http://www.huffingtonpost.com/john-m-eger/the-arts-are-not-a-frill_b_721674.html explores in an expansive and global way. The article talks about how arts and creativity should be a high priority matter not just for the betterment of our children's intellectual development but for the global economy. Mr. Eger points out that one of the bright spots in our dismal economy is the growth of arts jobs such as, "...publishing,, television and graphic design." He also touches on the idea that in order for future generations of Americans to be more successful they will have to become much more creative and inventive in their pursuits. Not to put to fine a point on it, but I think more exposure to the arts for everyone should definitely be a no brainer, because when you study the arts you learn (among other things) how to problem solve, communicate and think outside the envelope.

I also feel arts in the school are necessary for our children's complete education because as shown in various well known studies the incorporation of the arts into a child's curriculum can greatly improve their ability to learn and for the successful growth of neural development. As outlined in the article "How the arts develop the young brain: neuroscience research is revealing the impressive impact of arts instruction on students' cognitive, social and emotional development." by David A. Sousa (which you can find at: http://www.thefreelibrary.com/How+the+arts+develop+the+young+brain:+neuroscience+research+is...-a0156417562 ) he summarizes that, "The arts play an important role in human development, enhancing the growth of cognitive, emotional, and psychomotor pathways. Schools have an obligation to expose children to the arts at the earliest possible time and to consider the arts as fundamental (not optional) curriculum areas. Finally, learning the arts provides a higher quality of human experience throughout a person's lifetime."

How can artists contribute to the fight for more art based curriculum in schools? What can an artist do to educate the public about the positive impacts art has on a community?

Artists can contribute to the fight for more art-based curriculums in schools by becoming more involved with their local government, either by helping political candidates and legislative initiatives that support these ideas or simply voting for them when election time comes around.

Artist's can also help by volunteering their time and skills to the schools and after school organizations so that kids will get some exposure to the arts. The ARTcart is a fabulous working example of this and shows how much of a desire people of all ages have to express themselves through art!

What is the role of the artist in our society?

The role of the artist is varied, because oftentimes the work they create serves as a mirror of current events. The artist is the social conscience, they are the architect and the decorator making your environment a little more pleasing.

Artists now and for a long time have been the visual journalists and interpreters of our society. Even when the artist is only creating work that talks about themselves they can't help but bring out their views of society because they are a part of it and directly affected by it.

Outside of the lofty pursuits of social change artists are also tasked with coming up with the visually pleasing designs on everything we look at everyday, from the moment we rise to when we close our eyes. As I point out to my art students, art is everywhere you turn, the graphics on your toothpaste bottle, the logo on your car, the design of the building your working in and so on!

Where do you see yourself as an artist in 5 years?

I have the same dream as so many artists out there, to be making a living at and a difference with my art. I'd love to be represented by some galleries and still be making and donating art for my causes. Also, I have talked about the importance of art in school and I have put my money where my mouth is! I've worked very hard in school myself to secure an M.F.A. (Magna Cum Laude) from Rochester Institute of Technology in New York and hope to also be teaching kids in a college setting within 5 years.

What are your ultimate goals as an artist?

To reach people and help with a dialogue that elicits change for both animals and humans.To teach people the skills to make and enjoy art and expose them to various artists and movements that will help them appreciate the importance of their work and others art.

And to work as hard as I can to become the best artist I can possibly be.

For more connection with Michele check out her various sites

FACEBOOK: http://www.facebook.com/pages/Michele-Vavonese-Studio/133577886680421?ref=ts
 ETSY : http://www.etsy.com/shop/Gypsey24?ga_search_query=gypsey24&ga_search_type=seller_usernames

Thanks Michele for your interview! 

Answer - Experiements in Creativity #2 - Microworlds

To read the assignment that pairs with this answer post CLICK HERE.

I had an awesome time walking around my house and neighborhood searching for micro-worlds last week.  I found that it forced me to see my everyday world in a whole new way.  At one point I was laying on the ground in order to look at ants crawling through a crack at the side of a house.  It felt strange, yet exhilarating.  I noticed that everything around me started to have the possibility of becoming it's own universe.  Potential began to sprout all around me.  

Another positive outcome to this lovely assignment was that it got me to use my camera again.  I am constantly critical of my lack of commitment to photographing.  I love looking at photography and do love taking photos, but find that it takes huge amounts of extra pushing most of the time to get myself to photograph simply for the sheer act of photographing.  That is when the photographer's gut comes into play and the real magic happens.  Having an assignment involving photography made me feel like I was back in undergrad.  I was so happy to have homework and a deadline!

The not so fun part of this assignment was the second step requiring me to ask others what they thought was in the photo.  I decided to try to get our social network of Facebook involved in hopes that it would instigate an interesting conversation.  Getting people to comment has been one of the most difficult feats for Lisa and me so far in our Art is Moving collaboration.  This week was no exception.  I posted in three different places on Facebook and got no response.  I was sad for about a minute and then realized that this was not the most important aspect of the project.  And, who knows, maybe posting the photographs the first time will get someone to comment next time.  I think the most important thing to do is to put your art out into the world.  You never know who might stumble upon it.  

As I move out of my duplex next week I am sure I will discover and photograph even more micro-worlds.  Thanks Lisa!  I love when a short and sweet creative exercise packs such a punch.  Can't wait for the next one.

-Lauren

Sweet Discovery

I am hoping to launch my art career down in SoCal ASAP. I have been doing some research about which galleries to apply to. Today I went to the Bergamot Station. which is an interesting space with over fifty galleries.

Also at the Bergamot Station there is the Santa Monica Musuem of Art or SMMOA. Their exhibit was phenomenal it was called Combustine: Alberto Burri and America. The Italian artist Alberto Burri (1915–1995) was at the forefront of postwar avant-gardism. His work and level of automatic experimentation was inspiring. He used common materials like garbage bags, dirt, cloth, and plastic wrap. In some of the work he actually burned it with a torch. The texture and energy of this work was truly transformational. Check out this deep and delightful exhibition if you can. Otherwise, if inspired do some research on this amazing artist. A thought that just came up was why is Picasso a household name and not this guy? Insights always appreciated!!

LA's ARTwalk?

OK I am new to the area did I miss something??


Last Thursday night I ventured out into LA's Art walk.

I had high expectations for this ART walk as I had read a couple great articles about this event. My boyfriend said it was art for the masses. There was masses of people on the streets-bands and DJ;s were everywhere. It was quite a scene. Kind of like a neighborhood festival, not an ART walk. I do have to say that the court of Food Trucks was amazing! But the galleries I saw were just pop up galleries with a low level of professionalism. T-shirt sales seemed like a common fare. I thought to my self where is the ART??
I hope to discover it next month.

I am an Artist: John Berry

One of my most favorite places in the world is southern Utah.  When I discovered John Berry's website and artwork I had to contact him for an interview.  I could stare at his landscapes all day and use them to escape back to my road trips through the Four Corners.

Why are you an artist? 

Because I almost flunked out of Econ 101 in college (true story.) Seriously though, I’m not sure why I am what I am. Some of it has to do with hard wiring, some by choice. I guess I can’t really answer that question.

How do you come up with your compositions?

Memory, photographs, on site, etc? My compositions are based upon design principles, but mostly they are from the “gut”, meaning that when something just feels right I move forward with it. My intent is always to create exciting compositions, not just the same old same old. Very rarely are they done from what’s in front of me. Even on location I significantly change the design of nature.

How does your relationship with nature influence your artwork? 

Nature is the essence of my work. Nature has always elicited an emotional response from me. I try to convey that emotion in my work--excitement, peace, loneliness, solitude or awe. Every piece of art I create has to portray an emotion.

What role does color play in your work? 

Are you kidding me, have you seen my work? So much can be said with color. Color is also a strong factor is setting one artist’s work apart from others, sort of like differing personalities.

Social Question: Check out this article. http://www.huffingtonpost.com/john-m-eger/the-arts-are-not-a-frill_b_721674.html
How can artists contribute to the fight for more art based curriculum in schools?

This is a broad question. Art is personal. Much of the art based curriculum taught in schools is nonsense. I think the fight should be to teach creative thinking, not only in the arts, but all subjects. I would add a large dose of art appreciation to any curriculum. This would go further in creating a healthy and well-balanced society than most of what is taught out there.


What can an artist do to educate the public about the positive impacts art has on a community?

First off, an artist should make sure they are creating something of worth and value to share with society. Secondly, they should take the time and opportunities available to speak to and educate people, in groups or individually, about the refining qualities of great art in all its facets. Sometimes that’s akin to talking to a brick wall and I tire of it greatly, but very little else has the refining capabilities upon individuals and societies as appreciation and knowledge of great art. Let me clarify- GREAT ART- not all that is created is great, or good and uplifting for that matter.

What is the role of the artist in our society? 

I think I answered that in the above question (to educate the public about the positive impacts of great art on a community). and in Utah? Ditto.

Where do you see yourself as an artist in 5 years? 

I can barely see ahead 5 paintings, let alone years. Though I better be striving to create the best work I can. If not, I should throw away my brushes.

What are your ultimate goals as an artist? 

Hmm, to leave a legacy of creativity, and to inspire and uplift those that see and collect my work. Not much brings me the kind of happiness I receive in hearing that someone is touched by my work and that it brings them great joy.

What does art mean to you? 

Great art means to me that there is hope for mankind. That we can rise above the pettiness and ugliness that is found in this world and achieve something worthwhile and beautiful, something that will inspire others to live a better life.

Check out more of John's work: www.moosejawstudio.com

#2 "Experiments in Creativity" ~ To see the world in a grain of sand

"To see the world in a grain of sand, and to see heaven in a wild flower, hold infinity in the palm of your hands, and eternity in an hour." William Blake

This is one of my favorite quotes from Blake about seeing and about awakening to the magic of everything large and small in LIFE.
From our recent artist interview with Illustrated Blogger and Artist Michael Nobbs I learned about this amazing artist Keri Smith, who is one of Michaels inspirers. After researching her work, I think Lauren and I both agree that Kerri Smith is a relative (or artistic ancestor) of Art is Moving. Our visions seem to be akin as her work and ours is all about dialogue, interactivity, connection, and creativity.

While I engaged with her website, I saw this amazing project that she facilitated.~ the exercise involves photographing the cracks in the sidewalk you can find the complete experiment in her book called How to Be an Explorer of the World. I really love Keri's work and I think in particular this exercise is a great art example of the embodiment of Blake's quote.
With that in mind.
My inspiration for my Experiment in Creativity assignment is Perspective.
Here are steps:
1.Take at least three photos of small worlds or micro environments in your neighborhood and or your home
2. Ask two people who you know or not to identify them.
3. Post photos and responses on Art is Moving and any insights that personally might of been stirred up for you.
Please remember that we want as many folks to interact and engage with this series as possible. If you are moved to do this exercise please send us your completed assignment to artismoving@gmail.com and we will joyfully post it.

I look forward to seeing what you all and LAUREN come up with.-Lisa

quintessential quotes

A work of art is finished, from the point of view of the artist, when feeling and perception have resulted in a spiritual synthesis. 

Hans Hofmann

Experiments in Creativity:Making some Art out of this Mess

I have been in such a huge transition, I just settled in from moving from the Bay Area to Santa Monica and I have been unplugged for nearly two weeks. The good news is I am loving it thus far as it is a perfect location me- I kind have a weird obsession with the Ocean. Since I have been here I have had the joy of experiencing daily dolphin sightings and the serenity of the ocean Bliss on tap as they say. In contrast, through this creative experiment I have rediscovered human kinds shadow on tap--waste, garbage, litter apathy, detachment, hubris, and so on.


Experiments in Creativity Plastic,Styrofoam,and Plastic and more-Yuck!


Step one:
Over the last two weeks I have been thinking about this experiment. It has been somewhat of a challenge and has pushed my boundaries as I do not consider my self as a recycle or Upcycle artist. Also, the notion of making art out of garbage kind of grossed me out. For my first Experiment in Creativity assignment. the location I chose to pick up litter at MAMA Ocean (my obsession) on Santa Monica Beach. Interesting when I first went to the Beach I did not even notice that garbage is literally everywhere. It is really subtle, in the morning huge tractors (beach combers) till the sand hiding much of the emanate plastic and Styrofoam. One can really see it as the tide washes it back on to the shore entangled in the kelp.Lauren's experiment has shaken up my notion of paradise, the Ocean is really in trouble and so are we as a species. I know that my own personal Eco Art Tree Shrines are all about this, but I never approach this concept in such nitty gritty way.

.

Within in less the five minutes of walking on the Beach I collected a bag full of garbage. Plastic and Styrofoam in our Oceans is an epidemic problem! As I was walking the beach I really was disgusted with how much there was. This experience brought me right back to the amazing artist Chris Jordan's powerful documentary and photography series Midway: Message from the Gyre. Unsettling it was and I actually got a bad flu bug for five days after collecting and working with the "shit" that we leave everywhere in environment.

Step two:

I sorted through the trash and decided to work with the plastic and Styrofoam. I recylced what I could and through the rest in the garbage, There was so many bottles on the beach as well and I kept thinking what message do I want to send in the world with this piece. So, I took a small liquor bottle and I placed a message in it asking humans to heal the Ocean, and to ask fellow beach goers to please pick up just a handful of litter. Think about it if everyone who went to the beach would do this, the environment would be much cleaner and the plastic would not make its way to Gyre.

The transformation of garbage into art. I do realize that I will be putting another object into the environment, but I see this work as a kind of prayer to manifest. Image of work in progress. Of course as Dyslexic artist I spelled recycled wrong in my fever of creation. And ritual is always part of my work, hence the candle light.

Here is what manifested, Message in a Bottle Little Garbage Man.

Medium: Mixed media man made Sheit

Step three:
Tomorrow I will place my art back into the environment. I will be super careful in my placement that it will not go into the ocean, but will find a witness to hopefully discover the message. And pick up some trash.

Message in a bottle garbage man on the Santa Monica foot bridge to the Ocean at California Street. California Street and Ocean Av ( footbridge to the ocean) Google Maps. He is kind of cute.

And he was actually getting a lot of attention. I will visit him tomorrow to see if he is still there. And hope my prayers work.

Reflection:
Thoughts that came up with this project were

• I do recycle and throw trash in a bin, where does it all end up in a land full away from our site Out of site out of mind. How much does recycle get reused?
• While collecting garbage I did inspire one ocean watcher to pick up some plastic. This is evidence that people follow by example.
• It seems there should be a huge campaign on the beaches to clean up the mess. Why not?
• Through this art and process I have become more conscious of garbage everywhere in our environment, also I have noticed that most people are detached they see the garbage and say oh some one else can pick it up
• In my daily beach mediation I have vowed to pick up trash every time I go out.
• Wear gloves when picking up trash. You can get really sick from all the toxins. Think of what this garbage is really doing to the animals that live in the Ocean.Yikes.
• Also, I have discovered this cool organization that has scheduled clean the beach day up it is called Heal the Bay.Org. I am not sure if I will join them or just be a solo steward.
• All I know is that I am really concerned about the life in the Sea. We all should be really concerned about the Earth. We have made her really sick. I challenge all of you to just do one small thing today to improve your environment and to heal the Earth.

My experiment will be next. Keep your eyes peeled. (What a weird phrase.) I look forward to seeing any one elses interpretation of this experiment. To check out the recipe click here "Experiments in Creativity" -- A new project for Art is Moving

Namaste, Lisa

I am an Artist: Paul Stout

Utah is chalk full of wonderful sculpture and installation artists!  Paul Stout whose work leaves me intrigued and curious.  What does his work do to you?

 Why are you an artist?

I am an artist because it allows the exploration of so many different
subjects within one career. I am allowed to build small machines and
dioramas for a time and then graft and sculpt trees. In short I ended
up here because there was no other profession that would easily hold
all my eclectic interests and activities.

What is the role of relationship in your work?

Usually it is at its most basic a relationship between the artwork,
display environment, and audience. There is also the relationship
between form and idea, between the possible and impossible, and the
compromise of what is. I am interested in the relationship between
humans and environment as an overarching place of dialogue in my
research, it is a place unresolved inquiry in our lives and culture,
and I obviously find it fascinating.
And then there is the relationship and dialogue between artist and
viewer of art.

What do you hope a viewer walks away with after seeing your work?

That does depend on the particular work or project. I am interested
in multiples: meanings, layers and experience. I know that most
people will not get everything thought about and researched and
present in the artwork, and that is ok. I tend to produce work that
is seductive in craft and materials, designed to encourage lingering,
and hopefully greater contemplation and understanding.

How does nature, the land, landscape, the environment affect our creativity?

I personally find it a bit unnerving how affected by the place and
cultural atmosphere in which I live. I have been very affected
recently by the economic and political conditions in our country, it
has been a force pushing my interests in different ways, I feel less
creative, but perhaps it is just a different way in which creativity
expresses itself.

I find Utah to be an infinitely interesting place, a confluence of
desert and alpine, badlands and farmland. I moved here from the bay
area because of the power of the landscape in imagination and thought.
I find the western region to be very fertile in ideas of human,
nature, time, and ecology, as well as being a place of profound
beauty.

 Social Question: Check out this article. http://www.huffingtonpost.com/john-m-eger/the-arts-are-not-a-frill_b_721674.html

How can artists contribute to the fight for more art based curriculum
in schools? What can an artist do to educate the public about the
positive impacts art has on a community?

I am an Associate Professor at the University Of Utah in studio art,
so I am very involved in arts education. We see a continuous
reduction in arts offerings at high schools and our incoming students
do not have the background we would like to see. It is disheartening
in that the arts are seemingly always the first to be removed at the
local, state and federal level. What is interesting to me is how
resilient the arts are, we as a country have been trying to remove and
suppress support for the arts for the last 30 years and yet virtually
everyone in the U.S. has some sort of personal artistic practice. It
is surprising.
I think we all fight for the merit of art by being practicing artists,
every action helps.

What is the role of the artist in our society? and in Utah?

The role of the artist is probably different for every artist. I am
the only person in Utah with interest in electronic art, so in some
ways my role is to show some different possibilities. There are
certainly no lack of talent in Utah, there are many very good artists
in the state. We also have many treasures of land art. The things
that always seem to elude this place are a sense of community and
outside attention.

The larger question of the role of the artist in society is a bit
harder to place. Personally I think artists are here to show things
in a different way, we are constantly producing novel ways of
communicating. Some of these new ideas are incorporated into popular
culture and some aren’t, but we keep working.

Where do you see yourself as an artist in 5 years?

I hope to evolve into unexpected subjects, techniques and materials.
I don’t have clear path in mind but producing artwork feeds new work,
thought, materials, and subjects.

What are your ultimate goals as an artist?

Very simple, my goals are to find those new ideas, subjects and
methods. To be eternally in research and work, I suppose until it is
not rewarding anymore. I hope to not run out of ideas.

What does art mean to you?

Art is visual experience and communication. It covers all activities
that are intended to be experienced as art.

Artist's Website:  http://home.comcast.net/~p.stout/

I am an Artist: Cary Griffiths

Cary Griffiths creates bright gestural abstractions that keep the eyes, mind and body focused on the work for quite a while.  There are many lines to follow and many crevices to dive deeply into. 

-Lauren

Where do your compositions come from? Are they intuitive, planned, etc.

Thoughts or dreams come to me. At any time – anywhere. These are not ideas but, rather thoughts
or dreams and are not abstractions of real things or real experiences. Rather, they are concepts, static at
first, which evolve into a visual abstract idea, full of motion, color, and rhythm.

When a thoughts or dream comes to me it usually forms in style and color as well as in line, after
which I put it down visually on a piece of paper (sometimes a scrap of envelope, or the back of a grocery
list.) Then I let the drawing sit for awhile and, if after a few days, the concept is still fresh and alive and
exciting to me, I proceed.

I ordinarily paint on canvas, sometimes on board or paper. I usually place the canvas on the floor
so that I can work all the way around it. That way I am able to work all four sides, up and down, side to
side, from differing angles.

I start with the basic concept of what I have sketched. Sometimes the work will then take on a life
of its own. It starts to evolve into more than I had imagined. Things happen as I am working on the
painting, and I let the happenings lead me.

I usually use acrylic paint. For me, acrylic paints are more versatile than other types of media. The
paint dries faster, for example, and can look like oil. Acrylic paint can be used in a variety of ways – like
oil paint, like house paint, like water colors. I can use acrylics with water, and do in a number of my
paintings. Depending on the effect I want I can water the canvas first before I apply the paint, or I can
mix the acrylic with water. I can effect a combined stroke and wash.

The colors are almost always a part of the original concept. As thoughts or dreams come to me
they are often represented by color, as well as form. Sometimes I will see a juxtaposition of colors, or
a combination, that creates in me a strong mood or feeling, which informs my developing idea. The
colors, along with form and motion, are what primarily drive the painting. So I have the colors in mind
before I begin to paint, and then how I apply the paint is influenced by the mood of the concept. For
examples, I apply the paint energetically if the piece is exciting and in action, or I apply it more calmly
and deliberately if the piece is more sedate and peaceful.

I ordinarily paint to the sound of music playing. As a painter I see and hear a bridge between the
beauty of music and that of abstract art. When I paint I almost always feel a beat, a rhythm in what I am
painting. Often a melody as well. As I paint I feel lifted, and lyrical. I think the variety of form, color, and
content in my work reflects that I hear and feel what I paint.

 Who are some of your favorite artists?

Willem de Kooning, Jackson Pollock, Franz Kline, Clifford Still and Piet Mondrian

You work is physical and emotional. What do you hope your viewer walks away
with after spending time with your work?

I am developing a body of melodic abstractions. Therefore, I have titled some of my abstracts
musically. Primarily, I leave the interpretation of this art, and the journey into it, to the viewer,
believing that each person views art in his or her own way; however, the musical titles may be a nudge
onto the bridge. I believe abstract art lends itself so magnificently to every expression of life, and
to an appreciation by the viewer, who comes to it with all of the accumulation of her or his own life
experiences. In the melody of modern abstract art, s/he may see, and hear, emotional content - pathos,
joy, fury, forgiveness, betrayal, love.

How can artists contribute to the fight for more art based curriculum in schools?


See Below


What can an artist do to educate the public about the positive impacts art has on a
community?

From an artist's wife:

Eger of the Huffington Post said what goes without saying.

And as Eliza Doolittle said, "Words, words, words, I'm so sick of words...show me!"

We NEED the arts in school curriculums, integrated in all classes. Like plants need fertilizer, not just
water; like fish need oxygen, not just water; like the body needs nurture, not just water. Without the
ability to see the world three dimensionally through the art spectrum, we are just walking automatons,
shells of external technological brilliance, hollow and narrow. Who cares if we can multiply fractions
if we can't sing along with Mama Mia, read and compare literatures, dance around the room, fall into
a painting as if into another world. There lies joy, and if we can't understand how it happens, then we
can't make it happen, and we are all lost in a desert of sterile knowledge.

What can/should artists do about it? What each person in America who cares about the future world
should do. What each person who cares that our future leaders emerge with a well-rounded. holistic
education should do:

1. Write your legislators, national and state, individually and in groups, often and well.
2. Write your children's, grandchildren's, family tree-twigs', neighbors', strangers' schools, individually
and in groups, often and well.
3. Cite examples. Quote "experts." Make analogies. Be rational. Be reasonable. BUT be outraged!

4. As for artists: Make a scene: literally and figuratively.
You're the artist: what's your idea? Create an idea. OR
Make a brochure with the evidence - pass it out on the street, on doorsteps; blog, twitter, email and

snail mail it;
Paint a picture, write a school newspaper article, donate your music...be visible and vocal.
Volunteer to talk (one day a year?) to school assemblies about ART AND YOUR FUTURE;
Organize an auction for the benefit of arts in the schools;
Ask Bill Gates or your local famous humanitarian for orchestra instruments, drama scripts, art history
books, concert tickets;
Encourage an "Art Day" in school and ask everyone to sing, dance, dramatize, and draw their lessons in
every class;
Hold "creative coffee klatches" and invite everyone to come with their children and share art ideas;
Educate your children and grandchildren to care about this issue. They’ll be the lawmakers, educators,
artists and/or voters some day.
Be like Lauren and Lisa: get out there with your presence and with your particular and unique artistic
voice.

I agree with my wife. One last possibility. If you are reticent, reserved, solitary, unsocial - like
me - take the first three steps, and then give money to others who will make the money speak!

Cary Griffiths and Katharine English

What is the role of the artist in our society? and in Utah?

I believe that the role in our society and in Utah is that the function of the artist is to be present,
and all-embracing. Art can, and should, be done for all, and by all. For me, art for art’s sake should not
be a concept. The division between art and life out of which such a concept comes should not exist. Art
itself should be taken to be perishable, to be made again each time it disappears or is destroyed. What
should be clung to is the spirit which makes art possible. That spirit requires the artist to leap from the
intellectual and technical aspects of art, into the unconscious and subconscious space which houses our
creativity.

Where do you see yourself as an artist in 5 years?

The focus of my work is on the internal structure of my thoughts and feelings, using surfaces and
lines....by position, dimension, and color I express associations with movement and emotions.

With my work I am continuing my search for art which is not aimed at depicting particular objects
but, rather, compositions searching to bring both an intellectual and spiritual inspiration to the canvas.
The focus of my current work is on the internal structure of my thoughts and feelings, as I move far
from the edge, the boundary, and the surface into the vast interior. In the future I hope to continue this
exploration but, I cannot say where this will lead me.

What are your ultimate goals as an artist?

My vision is to create the peace that comes from finding that relationship with abstract painting

which is borne of recognition, catharsis and, finally, solace.

What does art mean to you?

I believe that Art should concern itself with reaching beyond and beneath nature, to contact, and
that art itself should become a part of la force vitale. The modern artistic image is not intended to
represent the thing itself, but, rather, the reality of the force that the thing contains.

I focus primarily on modern abstract art because I believe it lends itself so magnificently to every
expression of life, and to an appreciation by the viewer, who comes to it with all of the accumulation
of her or his own life experiences. In the melody of modern abstract art, s/he may see, and hear,
emotional content - pathos, joy, fury, forgiveness, betrayal, love.

Cary Griffiths's Website:  http://www.carygriffithsart.com/

Opening Doors Through Art -The ARTcart at Horrall Elementary School

I had such an awesome Saturday at Horrall Elementary School in San Mateo.  The ARTcart was one of many art activities set up as part of unveiling celebration of 23 salvaged doors, each painted in the style of a different artist.

The project was led by Artist in Residence Sinem Banna. I love the idea and the doors were so amazing!  The students were clearly proud of themselves, as they should be.

The ARTcart was a popular stop all day long and had participants from ages 1 1/2 to over 40!

I had some visitors stay with the cart the entire time!

Another successful event for the ARTcart! We are always happy to take part in community events and offer art for free to the masses!

Check out this Art Studio!  The students painted the floor themselves as an homage to Jackson Pollock (:

To read more about the school CLICK HERE!

I am an Artist: Beth Krensky

I feel like Beth Krensky's work is made up of keepsakes.  She creates work that holds meaning, memory, thoughts, ideas, and vision.  It seems as though to work could be opened up or open us up to a wider world.  

-Lauren

 1.Why are you an artist?

For as far back as I can remember I have understood and envisioned my world through
visual language. As a young child, I would gather small objects from the streets and
gutters of Manhattan to build my first sculptures. I have always made art, even though
it took me until I was in my mid-twenties before I called myself “artist.” When I was a
student at the Boston Museum School, I had the privilege of working with a number
of activist artists and began to bridge rigorous training in sculptural formalism with
conceptual work focused on social issues. These same ideas still compel me to be an
artist.


2. What is the role of relationship in your work?

Much of my work is about collaboration. I am interested in the often murky in-between
spaces where relationships, ideas and physical boundaries intersect. I find this a place
of possibility where thoughts can be explored and new ideas can be forged. A few years
ago the artist Sama Alshaibi and I collaborated on a show about Muslim and Jewish
dialogue through art. The exhibition, “We Make the Road By Walking” was shown in
multiple venues throughout the U.S., including along the border with Mexico as a way to
use the arts as a place of wonder and questioning of boundaries, even if the questions
and ensuing dialogue were difficult.

3.We saw that this project you did “How does engaging in community-based art
impact the development of the visual artist’s sense of social responsibility? What
are thoughts on the provocative question?

Seana Lowe Steffen and I wrote a whole book on this topic—Engaging Classrooms
and Communities through Art: A Guide to Designing and Implementing Community-
Based Art Education. Since the mid-eighties I have had the great fortune of working
with young artists in community-based venues. They intentionally created art that was
situated in the public domain. I have witnessed (and researched) the impacts on the
young artists, as well as on members of the communities, in which the art was created
and displayed. It has been remarkable to me that so may people who participate in or
experience community art become more interested and engaged in their communities.

4.  How does nature, the land, landscape,the environment affect our creativity?

The land and environment have had a powerful impact on my development as an
artist. During graduate school, I was projecting images into the sky and onto mist. I am
currently working on a series of portable sanctuaries that are intended to respond to the
natural or built environment while providing a refuge of sorts—a space within a space. I
need sanctuary in order to be creative. I think we all need sanctuary for this.

5. How do you like working in academia? Pros and Cons?

Academia has allowed me to combine two areas that are important to me—teaching
and working on my own creative and scholarly research. My students are a big pro. I
am invested in mentoring students so that they realize their ability to use art (as artists
and teaching artists) to explore and comment on issues that are important to them and
to this time. That said, it would be nice to have more time creating.

6.Social Question: Check out this article. http://www.huffingtonpost.com/john-m-
eger/the-arts-are-not-a-frill_b_721674.html
How do we change public policy and the dominant zeitgeist that feels art is frill?

My favorite response to this question is brilliantly answered in the longitudinal study
from some of Harvard’s Project Zero researchers— Studio Thinking: The Real Benefits
of Visual Arts Education. The authors assert that students who study the arts seriously
develop eight Studio Habits of Mind which teach students “to see better, to envision,
to persist, to be playful and learn from mistakes, to make critical judgments and
justify such judgments. (Robin Pogrebin, “Book Tackles Old Debate: Role of Art in
School,”The New York Times, August 4, 2007).” The information already exists that
clearly justifies the need for the arts. We need to make sure that all of our youth have
the opportunity to engage in authentic and rigorous art experiences.


7. What is the role of the artist in our society? In Utah?

Artists have the ability to comment on, indict and even envision society. They can even
be soothsayers. I have been most influenced by a long line of artists who reach beyond
their studios and situate themselves within their respective communities. Elizabeth
Catlett, Frida Kahlo and others believed it was an obligation of artists to do so. What is
the role of artists in Utah? I am in the process of defining that for myself. The way artists
think about things and creatively address challenges is a very important attribute that
needs to be incorporated into so many areas of society.

8.Where do you see yourself as an artist in 5 years?

I see myself continuing to explore transcendence and ritual by creating objects for
real or imagined rites as well as using the objects in performative ways. I also see
myself engaging in communal artistic practices. I think teaching will still be an important
element of my life as an artist.

9.What are your ultimate goals as an artist?

I am interested in addressing issues that transcend the political for the human and in
creating sanctified objects and spaces to facilitate this.

10.What does art mean to you?
It is my spiritual practice.

Websites:
www.bethkrensky.com
http://www.g-riot.com/website_mizel/index.html

I am an Artist: Adam Bateman

I am really pleased that we have found some wonderful sculpture and installation artists this month.  Utah seems to be full of them.  Adam Bateman uses material that has been used traditionally in our daily lives, but hardly used in the art world.  As someone who is always striving to stretch my ideas about what material one can use to make art, I appreciate Adam's creativity and amazing skill in crafting sculptures and installations from unlikely materials. -Lauren


Why are you an artist?
I kind of feel like it was a career choice for me. I’m not sure I believe in the idea that lots of artists espouse that they make art because they have to. That’s not my experience at all. In fact, it seems more like a lot of hard work. I like the work though—both the mental and physical work. I came to art relatively late—while in college. I was an English major. I enjoyed critical writing and literary theory. When I discovered that in art, I could make objects (actually be in the studio and physically construct things) while engaging in critical theory and critical ideas, I was hooked.

How does nature, the land, landscape, and the environment affect your creativity?
In some ways being in nature distracts me from making art. I spend a lot of time outdoors, but that actually seems to compete with my art making. Having said that, I’m really interested in the cultural relationship I have with the landscape and I’m also really interested academically in the idea of landscape—especially as it applies to the art historical tradition. Being from Utah surely affects my art making process, but the landscape itself isn’t as influential to my practice as other artists’ reactions to the landscape. I guess I buy into the Modernist idea that a photograph or painting of a landscape can’t provide the same kind of transcendent experience an actual landscape does. While the landscape itself, then, becomes less directly influential, the problem of transcendence in art and how that historically relates to the idea of the pastoral landscape is interesting and influential to me.

Would you consider, A Dry Year, political art? Why or why not?
A Dry Year, is currently on exhibit in New York City at hpgrp Gallery. Out of the dozens of people I spoke with at my exhibition, no one asked that question. Everyone from the West does, however, when they see this body of work. The answer to that question is complex. On one hand, I think all art has a rhetorical nature. Artists try to communicate some idea through their art. At one level, that makes all art political. This particular work, however, is often read as being politically engaged with water politics, especially as they apply to the maintenance and construction of dams. I suppose I am engaged in that discussion, though, I think a viewer would be hard pressed to identify my political stance on the issue by observing the exhibition. That is because I am trying to engage with the issue at an art historical and aesthetic level rather than a didactic political level.

To me, dams become icons of a Modernist aesthetic of hope and progress—icons of the idea that humans can dictate the terms of their existence. Aesthetically they are perfect examples of Modern architecture and when isolated from the canyons they plug, they function nicely as Modern sculpture. Like the landscape artists, Modernists sought transcendence in their art, only instead of relying on an image of the pastoral, they relied on form to create beauty. As fundamental elements of the pastoral landscape and as Modernist forms, dams seem to me to be the nexus of landscape and form.

I personally think it’s a tragedy that giant canyons in the Western United States (and elsewhere) have been flooded, often displacing people and always displacing animals and drowning habitat. I think, however, that the daming of canyons isn’t the problem. The dams are a symptom of the problem. The problem is that people live in a desert. Way more people live in Phoenix, Los Angeles, Las Vegas, and the surrounding areas than the desert should support—at least without reservoirs. I live in the desert. If I choose to drink water, shower, wash my car, eat locally grown crops, or any number of activities that are required by living, it is hypocritical of me to be opposed to dams.

How does using a traditional material in a contemporary manner affect an artwork and the experience for the viewer?
I think that I generally do the opposite of that. I think I tend to use non-traditional art materials in a somewhat traditional way. I often use the material to provide meaning and the traditional art reference as the context for the material. I’ve done that with alphabet soup, books, sprinklers, and irrigation implements—none of which seem to me to be traditional art making materials. I suppose that my piece, “Monolith” (the dam) is made with a Modern material (concrete) which could be construed as traditional and made in a semi-traditional form, also citing Modernism. The fact that it also references landscape and relies on context and a specific reference point takes it outside of Modernism, hopefully makes it more contemporary.

I use my materials intentionally. Choice of material, process, form, how a sculpture is displayed, all inform its meaning. The choices I make in each instance are intentional. I hope those decisions will add up to inform the viewer of the meanings I intend.

Social Question: Check out this article. http://www.huffingtonpost.com/john-m-eger/the-arts-are-not-a-frill_b_721674.html

How can artists contribute to the fight for more art based curriculum in schools? What can an artist do to educate the public about the positive impacts art has on a community?

I think the best thing an artist can do to education people is to make interesting and engaging art. I think that it is great when good artists join forces with arts institutions. If art educators have a better understanding of art and if arts organizations have high quality programming, the public will value the programming and have their curiosity piqued. I think that really high quality art becomes relevant—the more relevant something is, the more likely it is that the public will find it important and include it in the curricula of the schools.

I have tried to do this through founding CUAC (Central Utah Art Center) where we should world-class art to a rural audience. Our presence is transforming attitudes about art throughout Utah. The education at CUAC starts with the programming. With good programming, there is interest from the public. That interest makes them want to view the exhibitions. It makes them want to take classes. It makes them want to learn. With that success, we’ve collaborated with local elementary school teachers to offer art education in the classroom.

 What is the role of the artist in our society? and in Utah?
I think that the idea of artist is sometimes over romanticized. People sometimes cast artists as being oracles for our society or having the ability to objectively see their community from outside, and therefore be able to provide insight or commentary. I think however, that being an artist is sort of like being a writer or a physicist or philosopher—they are academics. Artists engage in an academic dialog that centers on visual aesthetics and branches out to other fields where they overlap with those fields. We use our discipline-specific language and we are highly specialized. The supposed social commentary artists offer is, at its best, a visual incarnation of sociology or anthropology. At its worst, it’s highly polarized and usually dogmatic political ranting.

Where do you see yourself as an artist in 5 years?
I hope that in five years I’m still involved with CUAC and the general direction of art in Utah. I hope that Birch Creek Residency, the nascent residency program I run, has taken off and is full year-round. I hope that in my personal career I continue to improve in my thought process and in my skill level. I hope that I can continue to gain more recognition and have increased sales and a good critical reception. I’ve been lucky enough to show my work abroad and all over the United States. I hope that continues.


What are your ultimate goals as an artist?
I would like to contribute enough to the art dialog that I influence it in some way.

What does art mean to you?
The idea of this question seems to imply that art is somehow special. In a sense I think it is, but in other ways, I think it isn’t special at all. There was a time, long before the industrial revolution, that making art was a serious intellectual pursuit undertaken by philosophers and scientists. Making art, owning art, and appreciating art were signifiers of being culturally elite and educated—most people lacked the means to participate in art. As people gained more money and free time with the industrial revolution that romanticized idea about art has continued to exist. I think that is the impetus behind thirty thousand MFA grads each year in the United States and retired people taking up hobby painting and young hipster kids talking about being artists without really making any art. It implies sophistication. It takes sophistication as well, but not more so that is required of most professionals.

I love art because it is my field. I like making things and I like thinking critically about things. Art allows me to do that more than most fields. There are fields where making things is important and fields where critical thinking is important, but the marriage of those ideas is interesting to me.

Having just tried to normalize the idea of art a little bit, I still think that artists have to potential to engage with culture and hopefully affect it. I think most art doesn’t do that. My goal is to do that sometime. I hope I can get to that point. In the meantime, I do think that viewing art, engaging with art, and learning to see art and understand it, is a good way to learn critical thinking skills. I think there are other ways to develop critical thinking skills as well, but I think that art education is a good one. I support art education because I think that a community with good critical thinking skills is a better community. I suppose there is something selfish about my interest in art education and the exhibition of art. The more people who are educated about art, the more people will understand my art, the more people will buy my art.

Links:

www.adambateman.com

www.cuartcenter.org

www.hpgrpgallery.com