Final Sophomore Seminar Post

Although this course did have quite a lot of reading, I really feel like I have learned a lot: about artists I didn't know anything about, specific theories of art, the greater art world/community, etc.  This class has also helped me to begin thinking seriously about my own art and myself as an artist.  I am so glad that we were required to go to at least 6 art events/talks for Soph. Sem. because I ended up going to the majority of talks that happened this semester and I really enjoyed them!  I definitely would not have gotten around to going to many if not for this class and I am really grateful.  Hearing artists talk about their own work has been inspiring and thought-provoking.  

As for my studio practice, I am hoping to consistently set aside time for myself to do my own artwork, not just classwork.  I am hoping that after I come back from Italy later this summer that I will be inspired to do a lot of my own artwork.  Right now I have some more sculptural ideas that are knocking around in my head that I would like to pursue before school starts again.  I just hope that the summer does not fly by like usual without me getting anything done!  Goals for myself for over the summer / fall semester: spend several hours per week working on my own artwork, spend time looking for shows in which to apply/exhibit, and build my resume.  I am really excited to continue to define my vision as an artist in preparation for my BFA year...and am definitely a little relieved that I still have another year before I will be stressed out about all that work.  But at the same time I can't wait to have the BFA experience because I know it will be a great time of personal growth.  Taking Sophomore Seminar, hearing all these different viewpoints and thoughts on art and artists, seeing so much artwork, and thinking about my own work has only further cemented my knowledge that art is what I want to do with my life.      

"A Room of One's Own, a Mind of One's Own" by Robert Storr

Storr begins his piece by describing all the different places that artists work, from studio space in their homes to rented space in an old factory downtown.  Some artists are lucky enough to have expansive, fairytale studios; ones designed around their every whim.  Storr reflects on the role of studios in the public imagination: many people see them as mysterious places of divine inspiration and creation.  Storr sees the studio as often doing one of two things, either informing clients that the artist is of the same social status as them and is therefore deserving of their respect or creating a theatrically different space, one that separates the artist from the client and adds to the artist's mystique.  

Willem de Kooning, A Tree in Naples, 1960

De Kooning grew up humbly and upon making a lot of money, he became very nervous and uneasy about it.  His studio space, though using up quite a bit of money, was practical, and by design seemingly made to use up the money that made him so uncomfortable.  De Kooning actually had his bedroom placed above his studio so at any time of night he could look down at his work from a balcony and ruminate on new ideas.  Storr also describes de Kooning's ex-wife's role in helping him get out from under a bad drinking habit by buying him massive amounts of high-quality oil paint (another common artist luxury/indulgence: having unlimited amounts of materials).  Arshile Gorky and John Chamberlin were also hoarders of material--Chamberlin's old garage/workspace a myriad palette of old metal and car parts.  Storr also goes on to talk about artists who lived and worked in extremely minimal or hermit-esque environments: Raoul Hague with his Gothic house out in the country and Agnes Martin in New Mexico, among others.  Storr's parting wisdom is that "artists work where they can, and how they can.  There is nothing mysterious about this, since artists must be pragmatic even when they pretend not to be or do the best they can to disguise themselves and conceal their process.  The mystery and the marvel is in the work.  The rest is contingent reality and real estate."