This Sunday was our last class with Sally Glass. For our project (directly inspired by FOCUS artist Fred Tomaselli’s work Flipper, 2008), students were given a piece of 20 x 30 inch paper that had been prepped during the previous class—each had been painted black, and the overall pattern of the project had been drawn on. Students continued to cut images they felt a connection to from magazines and newspapers. Everyone was given total freedom of source material. Once all of the collage elements were cut out, students applied their selections to their individual sheets of paper.
This Sunday, the teens were back with artist Sally Glass. Class began with a short lecture on artists Andy Goldsworthy and Richard Long. Goldsworthy uses nature as material to create temporary site-specific sculptures and installations, while Long uses his body to interact with nature in order to create a piece, such as walking back and forth across a field, which then creates a visible pattern on the ground.
This Sunday the students worked with Austin-based artist Jules Buck Jones. In preparation for the class, Jules installed a giant still life in the middle of the studio. The still life was composed of repurposed paintings and sculptures from some of Jules’s previous works configured into a mass that can best be described as a psychedelic jungle. Needless to say, the students were fairly curious about what Jules had planned for the day.
Sally began class with a short presentation about mandalas, a spiritual and ritual symbol in Hinduism and Buddhism that represents the universe. After a brief introduction to mandalas and their multifaceted religious and political meanings, Sally screened a short film about Tibetan Sand Mandalas, which are ritualistically destroyed after completion to indicate the fleeting nature of the material world.
This Sunday we met Sally Glass. Sally holds a BS in Psychology and Philosophy from TCU, and she is currently pursuing an MFA at the University of Texas at Dallas and is an artist-in-residence at CentralTrak. With a background in documentary and journalistic photography, Glass began her artistic practice with photographic abstractions and has recently evolved into object-making, sculptural installation, and performance.
This Sunday, Morris began class with a short lecture about a few important aspects for the teen artists to consider while editing their projects: structure, juxtaposition, and rhythm. Morris explained that structure is composed of two parts, the story and the plot. Though these sounded similar to the students, together we were able to ascertain that the story is the chronological events within the project, while the plot is the way the events unfold. Juxtaposition is the process of placing two or more things in proximity to one another to create a contrasting effect.
Class began with Michael screening his video I Can’t Wait To See You There. The work functions as an elegy and a prayer for musician Kurt Cobain. The twelve-minute video is not only an emotional record of the effect Cobain’s music had on the artist as a teenager, but also a meditation on the subjective experience of public mourning and the ways recorded media affect our understanding of mortality.
Today was our first day with Michael Morris, an artist and educator who works in video, film, and expanded cinematic forms. Class began in the lecture room, where Michael introduced himself and shared one of his essayistic videos, Confessors. Confessors is a short, personal essay that attempts to retrace bits of lost or inaccessible family histories. The artist’s grandparents gave him a can of film marked “X-rated” without explanation, as well as an old 8 mm camera. The film was lost before he was able to watch it.
Today was our last day with the wonderful Cassandra Emswiler. The students’ goal was to complete their tile project and have the work exhibition-ready. Students were given a few minutes at the beginning of class to experiment with designs for display and plan the organization of their tiles onto a support structure.
This week T/AP began with a short lecture about French gardens, in particular the Palace of Versailles. The palace is a site of power, beauty, and tranquility, and the layout of the entire landscape was designed to reinforce the reign of the monarchy. Cassandra shared her interest in architectural mimicry of nature within built landscapes. For example, the fountains of Versailles mimic lakes, and the columns of the structures mimic trees. The palace grounds are a place where nature is controlled by the grid and all elements are orderly and restrained.
The students started their day with a lecture by Cassandra on the history of enclosed garden spaces. They looked at medieval garden plans and discussed the significance of hortus conclusus, learning that the gardens functioned on a poetic level experienced by walking through them as well as looking at them. The enclosed gardens were a way of taming chaotic nature into something beautiful. Cassandra spoke about nature as motif and how society started to bring nature into interior spaces with mosaics, tapestries, and paintings.
The 2013–2014 T/AP season kicked off when students met with Dallas-based artist Cassandra Emswiler. Over the next four classes, students will complete a project designed by Cassandra that relates to works currently on view in the galleries. Cassandra first gave the students a brief lecture about her own work, providing insights into her inspiration and process.
This past Sunday marked the final class day for Teen/Artist Project 2012–2013. We began the day by visiting the Modern’s FOCUS show featuring Barry McGee. Though the artist’s installation had no direct bearing on the day’s project, it was an opportunity for the teen artists to see his work while they had the chance.