Initial Questions:
What jobs in the museum field did you have before becoming a curator?
Were you ever a practicing artist? If so, how has this affected your job as a curator?
Response
I really enjoyed this lecture. I would love to have Markonish's job one day. I liked learning about this museum as I am preparing for a move to Connecticut and am interested in new places to visit and possibly work in the future. I liked her "Badlands: New Horizons in Landscape" exhibit. She seems to have good clear ideas and successful ways of executing them. Her extensive study of contemporary Canadian artists was also extremely interesting. She is choosing topics that she has not seen addressed before and therefore inspiring interest from viewers who want to learn and see something new. I was surprised at how small the staff is at Mass MoCA. Makes the job market seem daunting.
My questions were not really answered, although I did get the feeling she was never a practicing artist. I am now more interested in knowing how she got the jobs she did, and what she recommends to other people trying to find jobs in her field.
Monday, January 31, 2011
Sunday, January 30, 2011
Artist: Georges Rousse
An artist who successfully inserts a circle into his photographs! Couldn't have asked for a better example of a way to improve on something that was mentioned as a weakness of my work during my last critique. I am also interested in his philosophy, and why he uses geometric shapes. This artist truly inspires me. Wish I would have discovered him sooner.
There many examples of his work I would like to reference. Unfortunately the artist's website forces you to save the images with this bizarre template around them.
Quotes:
He has invented 'Geometrism' in space, at once knowing and strange. And it has an amazing subtlety: there are no accidents in his work. Everything is planned, from its very inception to the final snapshot.
Philippe Dagen, Le Monde, January 1, 1986.
The idea that drives my work, that I hope to push to the extreme, is to make an intervention on an entire building.. I would make a whole sculpture out of the building's mass and photograph it, then the building would be destroyed.
Discussion with Jerome Sans in Flash Art, Spring 1984.
In Georges Rousse, we see an actor in search for another mode of spatial experience, based on his critical analysis of space. A sensibility of deconstruction emerges in these settings, in the tension between inside and outside, between floors and ceilings, between direct and reflected sights, in this aesthetic of chaos, confusion and imbalance.
Isabelle Alzieu in "Georges Rousse : Plasticité des espaces déconstruits" in Espaces transfigurés - À partir de l'oeuvre de Georges Rousse, PUP 2007.
I use white because it symbolizes light and black because, on the contrary, it represents earth's darkness.
Georges Rousse
His use of maps of cities, buildings, shifts from the memory of landscapes through which he has travelled, towards a memory of their own history. Excerpt from the interview "Georges Roussse -
Philippe Piguet" in the exhibition catalog at Chateauroux museum, 2003.
Constructions are organized entirely around a partition: a continuity/discontinuity between painted space and real space, a remotely geometrical expanse in which colour plays the abstraction game fully. Michéle Moutashar, "L'esprit des lieux," in Georges Rousse Arles, Editions Actes Sud, 2006.
biography
artist's website
interview
gallery
There many examples of his work I would like to reference. Unfortunately the artist's website forces you to save the images with this bizarre template around them.
Quotes:
He has invented 'Geometrism' in space, at once knowing and strange. And it has an amazing subtlety: there are no accidents in his work. Everything is planned, from its very inception to the final snapshot.
Philippe Dagen, Le Monde, January 1, 1986.
The idea that drives my work, that I hope to push to the extreme, is to make an intervention on an entire building.. I would make a whole sculpture out of the building's mass and photograph it, then the building would be destroyed.
Discussion with Jerome Sans in Flash Art, Spring 1984.
In Georges Rousse, we see an actor in search for another mode of spatial experience, based on his critical analysis of space. A sensibility of deconstruction emerges in these settings, in the tension between inside and outside, between floors and ceilings, between direct and reflected sights, in this aesthetic of chaos, confusion and imbalance.
Isabelle Alzieu in "Georges Rousse : Plasticité des espaces déconstruits" in Espaces transfigurés - À partir de l'oeuvre de Georges Rousse, PUP 2007.
I use white because it symbolizes light and black because, on the contrary, it represents earth's darkness.
Georges Rousse
His use of maps of cities, buildings, shifts from the memory of landscapes through which he has travelled, towards a memory of their own history. Excerpt from the interview "Georges Roussse -
Philippe Piguet" in the exhibition catalog at Chateauroux museum, 2003.
Constructions are organized entirely around a partition: a continuity/discontinuity between painted space and real space, a remotely geometrical expanse in which colour plays the abstraction game fully. Michéle Moutashar, "L'esprit des lieux," in Georges Rousse Arles, Editions Actes Sud, 2006.
biography
artist's website
interview
gallery
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