Posts in: AH112
My name is Calaya, and I am in Victoria Ehrlich’s Art History FYE class. Alongside our study of western art history from the pre-historic era to our present day (we are now learning about the Medieval period), our class utilizes the Colorado Springs Fine Arts Center collections to enhance our study of art. In addition to taking a tour of the museum early on, and now, curating our own exhibition with artworks from the FAC at CC’s collection (the show will be up second block, come check it out!), last week we went to listen to the FAC’s artist-in-residence, Virgil Ortiz, give a presentation of his work.
During Ortiz’s talk, I learned about his background as a potter at the Cochiti Pueblo in New Mexico. Ortiz’s ancestors were all potters, and he learned the traditional ways of gathering clay, making paint from wild spinach, and baking the pottery in a wood-fired oven underground from his mother (his people are a matriarchal family, and knowledge is passed down through women). He now continues these traditions by teaching his younger nieces and nephews the ancient practices of making pottery. Still maintaining a connection to his ancestral designs and concepts, Ortiz has now branched out into making pottery with modern themes, along with films, jewelry, high-end fashion, and digital art. Much of his current art is social commentary, just like his ancestors made clay figures commentating on colonial times.
Ortiz’s current project at the FAC is an exhibition of costumes for his latest project, which is a film that tells the story of the Pueblo Revolt of 1680 with Cochiti people and a sci-fi theme. He generously opened his studio for three days, during which students could come and assist with building his costumes. I went for a couple of hours one afternoon, and I started by helping Ortiz cut out form shapes for a mask. Then, he showed me how to bend the foam with a blow dryer and glue it to the mask base. I was making the mask of a conquistador, and it will later be spray painted a shiny black. Meanwhile, two of my friends were sewing black, glittering beads onto a gas mask, while other students were putting black and blue glitter on another. There were a few completed masks in the workshop, and a large pair of black wings for one of the costumes. The aesthetic of the costumes is sharp, futuristic, and draws on natural shapes, like feathers and serpents. The show is called Revolution – Rise Against the Invasion, and is open from October 6, 2018-January 6, 2019 at the Fine Arts Center.
It was exciting being in a professional artist’s studio and seeing how one would prepare for a museum exhibition. Virgil Ortiz was welcoming and very trusting of us, while still making sure the quality of his art was up to his standards. As a visual artist, I enjoyed being in a collaborative studio environment where what we helped to create will actually be put on display for the public to see. Thank you to Virgil for letting us come to your open studio!
Image Sources: ArtSlant, HuffPost, YouTube, Virginia Museum of Fine Arts
Surprisingly, in the few short weeks I have been an Art History student, I find myself identifying art wherever I go. After a lesson focusing on Greek art, my fellow classmates and I were delighted to spot some Ionic columns on our way to dinner and asked a stranger to take a picture of us. We even decided to all stand in contrapposto when posing for another photo (see photos for examples of people getting way too excited about art).
Today, we learned about the history of Romanesque and Gothic architecture in European churches, and I was curious to find out if the style of CC’s own Shove Chapel could be related. After some research, I found out that it was designed by John Gray in a Norman Romanesque style, and was inspired by the Winchester Cathedral. This can be seen in its round arches framing the nave and in its very solid and simple appearance. Despite this, there are also hints of Gothic architecture found as well, particularly in the use of stained glass, examples of which can be seen beautifully displayed in the three large windows above the main entrance. This was intentional, as stated in a book titled, This Glorious and Transcendent Place, written by Timothy Fuller as a commemoration of the 15-year anniversary of the chapel. He writes, “Mr. Gray’s aim was to learn from the past, but not to imitate it slavishly. It is, he said, ‘a new expression based on an old model.’” He combined original design with inspiration from historical sources. So although the building is classified as Romanesque, it still has elements from other styles as well. Everyone at CC sees Shove Chapel on a regular basis, hence, they are also regularly experiencing art, whether or not they are aware of it.
Art comes in so many shapes and forms, from simple prehistoric wall paintings, to the incredibly detailed frescoes on the ceiling of the Sistine Chapel. Even if one hasn’t studied art or its history, it is important to acknowledge that art can be applied to the “real world,” and that it affects the every day human experience. Studying Art History has inspired me to seek out art in the “real world,” and it is a lot easier to find than one might expect.
Over the past two blocks, Victoria Ehrlich has led me and 15 other students on a journey through the history of western art. It has been a fun and eye opening experience that has shown us all how art has developed into what it is today, as well as the politics that surround the art sphere. To conclude our First Year Experience in AH112, each one of us has created a presentation on our final papers. These presentations have honestly been one of my favorite portions of the class. They have allowed each student to show how we have gone from knowing so little about the evolution of art of the Western world, to now understanding most aspects of almost all past art movements. We’re able to show each other what aspects of art we are most passionate about, and why they are meaningful in our own lives. We have a new passion and understanding of art that I hope everyone will be able to experience someday. Art makes up a huge portion of our daily lives, and being able to value it and have a better understanding of what artworks are trying to convey makes life so much more rich and exciting.
On October 12th, our exhibition titled, Faces, Places, and Spaces: An Exploration of Identity, finally opened. Clad in our spiffy gallery opening outfits, our class met outside the Fine Arts Center. For many of us, this was the first time entering the exhibition since adding our finishing touches, and the satisfaction on everyone’s face was evident. Victoria explained to us that we would be in groups of four standing and answering questions in the exhibition each for twenty minutes. When asked who wanted to take the first shift a surplus of hands waved in the air. Everyone was excited to share with others what we had been working so hard on for the past two blocks.
During my shift I talked to fellow Colorado College students and Colorado Springs community members about the two works I studied closely: Chuck Forsman’s Native Lands and Enrique E. Montenegro’s Artist In Studio. It was fascinating to hear the questions people had about the works. Many visitors mentioned aspects I had yet to consider myself. A fresh pair of eyes in combination with my background knowledge on the artwork led to great and unexpected dialogue between myself and the museum visitors. It was refreshing to be reminded of the ways in which you can always discover new things about a work (even if you’ve been staring at it for two blocks already!) Prior to this class, curating an exhibition and confidently speaking to visitors about it was something I never imagined myself doing, yet this experience has helped me to realize such capabilities, as well as the numerous ways one can engage with art.
At the beginning of Block 1, I knew little to nothing about art history. We would look at artwork and it wouldn’t mean all that much to me. Over time, I slowly gained knowledge about how to analyze certain works of art and what the characteristics and formal elements of different time periods were. I really started to understand the process of analyzing art when our class exhibition rolled around. I found it slightly difficult to pick a work of art to concentrate on, but eventually, I did. The work of art, Native Land, by Chuck Forsman, hung next to my artwork of choice, San Vato, in the exhibition. Prior to the exhibition, our class had looked through a PowerPoint featuring artworks available to us from the permanent collection, and chose which ones we felt worked with our theme centering on identity. When Native Land came on the screen, everyone wanted it in the exhibition. Except for me. I didn’t see what was so special about it. I simply saw just another work of art. I was fine with it being in the exhibition, because I didn’t not like it, but I couldn’t fathom what was so special about it. Fast-forward to today, as I sit here writing this blog, I now understand why everyone was so enthusiastic about Native Land. It touches on a very sensitive subject in a powerful and respectful way. Forsman focuses on the land that belongs to the Native Americans that is being taken away from them piece by piece, and industrialized. I couldn’t help but stare at the dog with three legs, but then it finally hit me, the dog must represent the land of the Native Americans. Still functioning, but not to its full, beautiful capability. Forsman makes great use of diagonal lines to show the split between industrialization and untouched grassland. He even extends the most prominent line further outside of the regular rectangular frame, causing the need for an outcropping to be made to contain this strong line by the frame, which is definitely not your usual rectangle. This experience with one particular work of art is just a tiny insight as to how this class boosted my intelligence greatly, pushing me to think critically in ways that I wasn’t used to, and for that I am forever grateful.
As I walked into the Fine Arts Center with my parents, I beamed with pride. It was like giving them a tour of my second home, as I have grown to feel comfortable in a place I previously found intimidating. I led my dad, who majored in Art History, and my mom to our exhibition, and I could answer most of their questions about the objects we passed in addition to pointing out objects I found interesting. Then I had the pleasure of showing them the room I have spent the past two blocks creating. I finally could share the product of so much hard work with them, and I was so excited. Making the experience even better, they were clearly so impressed and so proud. As a girl who had little to no previous knowledge of art or anything that went into curating an exhibition, I was proud of me, too. I explained the piece I was responsible for, as well as other pieces I found interesting. Since our exhibition centered on identity, it felt fitting to talk to my parents about how my childhood had shaped the way I examined Nostalgia Baggage, focusing on the Pez wrapper and the fishing fly as those evoke memories I hold close. My dad and I discussed Native Lands, commenting on its unusual frame that adds to the work in a unique way. Similarly, I was able to give him context for some of the other images of indigenous peoples in the exhibit. The ability to connect with him on this new level is something I am incredibly grateful for, and it is just one of the gifts this class and this experience has given me.
It is the third week of the second block now—and I can hardly believe how quickly time has flown! The opening of our class exhibition at the Fine Arts Center at Colorado College is just around the corner. During the last 10 days, we have been working on the didactic labels for each artwork and the wall text for the whole exhibition. Coming up with a ‘perfect’ 300-word label is indeed more complicated than I thought it would be.
To start this phase of the project, Jessica, the curator for the UnBlocked Gallery, came to class last week and gave us a working session on how to write the didactic label. With the help of guidelines and label examples, we began to draft our own by researching our artists’ backgrounds, analyzing the artworks, and exploring their connections with the theme of our exhibition: identity. After peer review, another gallery visit, professor comments, and reading them aloud, our didactic labels eventually made it to the final draft after revising a couple of times. It is amazing to see our labels printed and mounted on the wall! I used to visit the public galleries without paying much attention to the wall text or the arrangement of artworks on the wall. The wall paint, frames, labels and wall texts: I took the entire set-up at galleries for granted. However, after taking part in an exhibition-curating task myself, I realized that everything in the gallery is the result of curators’ attentive design and hard work.
In addition to the exhibition preparation, our art history lecture in class has moved on to Impressionist paintings and modern art. As our class approaches the end, it’s amazing to look back and see how far we have come through the history of western art—from the pre-historic period all the way to modern times. As this was my first class on the block plan, it has been quite surprising to see how much progress we made in just eight weeks. This FYE class has not only taught me a lot about art, but it has also helped me to adapt to the special block plan schedule at CC.
After all of our discussions and planning, our chosen works of art are officially up in the UnBlocked Gallery! I was anxious to see how it all turned out, especially because it was set up while we were away on Block Break. Our class stopped by to see how everything turned out, and it was amazing to see how our ideas translated into a real space! Seeing all of the works in real life rather than in a two-dimensional picture completely changed how I thought about each of them. I was able to see so many small details that I had missed before, and the texture and feeling of each object was much more accessible to me when I was able to stand directly in front of a work. Despite our best efforts, we couldn’t fit everything into the space. Planning it on the floor of our classroom was much different than actually seeing the objects together in real life because the reproductions we had been working with were not printed to scale. Many objects that we chose were much bigger than we expected, so we were forced to really think about which pieces we wanted to include. Because of the limited space, certain works had to be cut, and we were left with those objects that really emphasized what we wanted the viewer to think about when experiencing our exhibition.
Even though we didn’t get to include everything that we had hoped, I was glad that we came across this obstacle. It taught me so much about the job of an art curator. Before taking this class, I had not given much thought to how much work goes into putting an exhibition together, but our professor, Victoria, and Jessica Hunter-Larsen of the FAC Museum at CC, have shown me that it is actually a very complex process. Each object not only plays its own role within the exhibition, but it also affects how the viewer will think about all of the works positioned around it. Because of that, our class had to think very carefully about how these art objects would speak to one another if we put them close together and whether the message that we created with a particular arrangement supported the theme of our exhibit. Thus, we had to consider where in space we wanted to situate the works and how this arrangement would affect the viewer’s understanding of the composition. For example, we originally considered lining up three of the works in a step ladder pattern, but Jessica Hunter-Larsen pointed out that using a decorative set up just for aesthetic purposes could cause the viewer to focus on the organization of the pieces rather than the content of the works and the ideas we were trying to convey by putting them together.
Even though I have already learned much about this process, we still have a long way to go. Our last trip to the museum was spent selecting individual works to examine. We have each chosen one to two works of art for which we will write a short label that will be placed on the wall for the benefit of the viewer and then write a longer summary that will be available for visitors who would like to delve even more deeply into the exhibition. As a class, we are currently making decisions about what type of labels we would like to write, and must write an introduction to explain to visitors the theme that we are exploring. Clearly, there is a lot left to do before our opening reception, but I am excited to learn more about the works we have chosen, and to begin the next steps in completing our project!
In these past couple of weeks, we have finally begun curating our gallery! To begin this process we went to the museum and each picked a featured exhibition to explore and dissect. With a graphic organizer and maybe a partner or two, we looked at how curators and artists come together to convey a central theme of an exhibition. For this exercise, I explored the exhibition, Raizes and Roots, which focused on Brazilian culture and the ways in which it has been misrepresented. This was an incredible exhibition to look at, in part, because of the innovative ways in which the works of art were arranged. Toward the rear of the exhibition, drawings hung from the ceiling by thread and were surrounded by beautifully cut tissue paper. Seeing this innovative set up, my partner and I were able to see not only how a certain work of art can shape the trajectory of an exhibition, but also how its location within the space impacts the viewer’s experience. We left with a greater understanding of how to convey a unifying theme through many different mediums.
The days preceding and following our gallery visit were spent flipping through slides and looking more closely at certain objects from the museum’s large storage area with Jessica Hunter-Larsen. We jumped back and forth from theme to theme but finally settled on one surrounding identity and how it is created and shaped. By narrowing down a theme, we were able to go from looking at objects and judging them based on aesthetics to really considering their purpose and message. We were really starting to make progress!
Some pieces jumped right out at us and we knew collectively that they had to be included. On the other hand, some took a little more time to figure out. To help us with our decisions, Jessica took these objects out of storage and let us have a look at them. This close-looking exercise changed everything. We could see sizing, proportions, color, and so many other compositional elements that weren’t translated well through a photo in a PowerPoint. After noting what would and wouldn’t work, we printed out all of the pictures and begin mapping out the gallery.
Since our gallery is oddly shaped (there are six walls to work with), we had to pay close attention to sizing. This was hard considering we were working with printed black-and-white photos that weren’t similar to the actual works of art at all. Still, after numerous MTV Cribs jokes and references to the Real World, we were able to turn our taped floor into a mock-up of the gallery. As a class we experimented with different placements and the use of sculpture within our exhibit. Although nobody got mad, there was some heavy debate over whether aesthetics or theme are more important when grouping pictures together — something we are still exploring as a class. Being able to have this taped-up model was extremely helpful and fun because we were able to truly begin visualizing what our gallery would look like. It was becoming so real! After experimenting with salon walls, sculpture, and varying wall placement, we were able to agree on a basic layout for our gallery. Over block break, Jessica Hunter-Larsen and her team hung our objects in the space. Stay tuned for updates on how it all turned out!