I picked Jennifer over other, far better known, artists. Her work was really interesting and got my brain thinking a lot at first and then I lost some interest in favor of other artists. In my Aesthetics course (AVT 307) we were reading about Robert Irwin and what he was working at over time. Jennifer's work plays with perception too.
I feel that she has come a great deal in terms of her animations and graphics she uses. It made me think about being the first one to do something, the originality, as one of the key elements of art. I didn't find her original video work to be particularly engaging by itself, but when placed in a certain way in a certain place it suddenly transforms space and engages the viewer in a whole new way. Sometimes it can just be a small projector in a corner and the space is new and alive like never before, but you can take it further. She transformed a stairwell into a throat, so what else could be transformed and how?
I still want to study abroad. Now more than ever! Peter is going to teach in Italy (Congrats!). Jennifer did some art for Istanbul and I saw there is a Mason program that visits Greece and Turkey for Art history credits. I just can't afford to go without more grant money. So money is just always going to be a thorn in the side it seems. I would greatly appreciate seeing the art I am learning about in class in person, especially some of the sculptures.
Studying a semester in the Rome area would tickle me pink. I would like to carve something out of stone! Until then, I would love to see Bernini's work, Michelangelo, Donatello, More please!
Researching Jennifer, I began to think more deeply about the art grant process and how you can make a “living” as an artist without having to sell ready-made-work in a gallery. There are a few options out there and it does give one hope, but a realistic sense that in a tough market, that is seen as drying up. If I am to succeed, I'll have to be doing something right, working hard, and being creative.
Once in the “Professional-level” you can get grants through institutions such as museums or foundations, often set up by dead patrons who didn't want to see art disappear in future generations. Museums and non-profit organizations can accept grants from NEA and then re-grant it to you, as the artist. They are no longer allowed to give money directly to artists. You can get fellowships and artist-in-residences though various means such as submitting an application (most common), or sometimes specific individuals are asked directly.
There is a variance to the type of artists that get awards and even how they use them. The trick seems to being pro-active and hard work. I hope to create works of wildly different media and, if my vision is clear enough and picked up, get funding to produce them.
With the knowledge of what has been done and connecting to things I already know and a different perspective, I can make more informed work. I have long time thought about transforming and changing spaces and surfaces through projection and with her feet deeply entrenched into this realm it is interesting to see how far it could be pushed and in what new ways it could be adapted.
You don't become an artist because you want to. You do it because you have to. (Doug Sanford)
I want to do a little bit of everything and mix and meld them. I don't know what the future holds but I will work on continued growth. If I let myself stay open to new ideas and learning, I can keep making new connections and opening new paths. New theories, ideas, technologies, styles, references converging in my head. I had never thought of myself as an artist before; but I am trying to soak up everything I can. I feel the little things are bubbling up and taking shape. I will keep working and I just might flourish.