Documenting Experiments! (OR: Look, I’ve made things!)

A few days ago, I was ready and set to act on my big Blog Resolution Challenge with a post about my art history homework RE: manifestos, but I scrapped it upon the realization that writing about shit like manifestos is probably why I’m too scared to blog in the first place. Do I really and truly have to always sound smart? I’m not going to lie to you: I usually need manifestos explained to me! Have you read Tristan Tzara? He’d adore it if I said that reading his writing is like frolicking through piles of shit up to your hips! It is just weird and bizarre and although I love it, I don’t necessarily have the extracurricular energy to write about it. It was something about WHY DON’T WE HAVE MANIFESTOS ANYMORE? IS IT BECAUSE THERE IS NO DEFINITIVE FORCE IN OUR WORLD? I SURE AS HELL KNOW I’M TOO INDECISIVE TO HAVE ONE, BLAH BLAH BLAH. Yeah, it was all in caps, too. Whoosh.

However, I do have much more entertaining blog posts that aren’t about the cerebral ow ow my brain is hurting when I think about this kind of subject matter. I’m finally learning how to use a sketchbook the way that I like and need to do so and after a few solid weeks at class, I’m really starting to get back into the swing of studio-shaped things! Today’s post is brought to you by experimenting with my camera RE: the best way to shoot your body of work for documentation. Naturally, these suckers are hardly definitive examples of my work; rather, this is part Let the Painter Play With Aperture and part Oh Hey Internet, Look at This! Which, by the way, I hope you do — I have three works that I’ve made in the past six months behind that “Read More” link, ok? That’s more than I usually post EVER!

Exhibit A

Exhibit A

Although this is a no no for the portfolio, I really like the idea of displaying my art in the context which it should be shown on this blog. This is my most successful still life from last semester — successful enough that I allowed my mother to candy onto it and place it on the mantle. I like making the frames on my stretcher canvases really deep — 2″ please, thanks ever. Showing how I display this particular piece illustrates that my paintings are as much 3-D objects as they are 2-D, which is great for e-discussion as it tells a story of an art object much more clearly than it would by just showing the image.

Exhibit B

Exhibit B

… but, as you can see, this sometimes comes back to bite you in the butt. This poor painting is an example of what I wouldn’t do for either my portfolio or my blog on a normal basis. This tiny abstract (my very first!) is presently leaning on my desk downstairs in my studio and it’s obvious from the color of the lighting to the shadow in the corner that it was taken in a basement without much thought to the circumstances. It was cropped because the background was unforgivably busy; I wanted to make this a NO NO picture, not something that makes your eyes bleed. One day, I’m going to make reparations to this tiny painting (which I actually like, thanks!) by photographing it properly — but until then, tsk tsk tsk. Also: I don’t understand abstracts even when I paint them. HOW PATHETIC IS THAT?

Exhibit C

Exhibit C

If not for the wee size (and I will probably resave it from my card, to be honest), this would be perfect for the land of documentation! True colors, not blurry, and cropped perfectly! This is also my second abstract painting ever; I also do not get it. BUT, friends, just know: it was really fun to make.

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