Posted By: Sarah Buchanan, Senior, Psychology/ArtHistory

Not only is Sarah Knobel’s work aesthetically pleasing but also, personally, I find it to be incredibly relatable. In Knobel’s artist statement, she writes how her artwork “is a stage which demonstrates the search for individual identity within the programmatic social structures of popular culture” and how through her work she attempts to “define the thin line between cultural expectations and self expectations.”

Especially as a senior about to graduate, these concepts deeply resonate with me. So often people walk through life not the way they want to, but the way the media and society as a whole dictates. Get good grades, get into a prestigious college, pick a major that will make you money (preferably some branch of business or engineering), get a job, make money, brag to your friends about your monetary accomplishments, die. In fact, I recently read an article about the top ten most useless majors, a few of which included the fine arts, music, English, religious studies, and history. These were determined as the “worst” major through the terms of unemployment rates after college.

I was so off put by this article. Since when does not getting a job mean a major is useless? What if that subject inspires you? What if you truly enjoy learning, and would rather spend your life expanding your mind rather than obtaining a monotonous desk job? What if you value experiencing your life the way that makes you truly happy more than money and objects? Certainly these aspects must still hold some value in our society.

I certainly cannot be the only one that thinks this way. I have been searching for my individual identity in this programmatic social structure and, as depicted in Sarah’s work, I feel as though I am aimlessly floating in environment in which I don’t belong. There is no way in which I can achieve cultural expectations without neglecting my self-expectations in this society, and vice versa.

This is what I so enjoy about Sarah’s work.  Aside from the beauty of the pieces, her work gives you the feeling that you are not alone, and pushes you to question the status quo and these social stigmas so prominent in our society.

Blog Post by: Sarah Buchanan, Stamp Gallery Staff, Class of 2013, Art History

The current exhibition, Combat Paper, at the Stamp art gallery is unique to any other we have had in the past. When preparing for the installation of this exhibition, what struck me most is that the show is not at all artist-based. Before the opening when my friends were asking me who the artist of the next show would be, in fact, I would reply that there are no “artists” in our next exhibit.

As mentioned in previous blog posts and if you have seen the show for yourself, it is known that Combat Paper is a compilation of work by veterans. Together with the Combat Paper Project, veterans pulverized their uniforms and used the resulting material to construct paper, which they used as a template to visually represent their experiences in serving their country.

The work on display is not the work of established or even emerging artists who desire to create art as a living. Which got me thinking, is this art? What exactly constitutes art? Are these images just the results of some sort of progressive art therapy? And if so, can that truly be considered “art”? Does a work of art only considered one if an “artist” creates it? Or does a person immediately become an artist just by creating a work of “art”?

We attribute contemporary art to the intentions, concepts, emotions, and personal experiences of the being that produced it. In this sense, the Combat Paper projects could be considered art. They are deeply personal, reflecting emotions and experiences of people fighting for their country. They are meaningful and more than skin deep, they tell a story and reflect a point of view.

Art is also often defined by aesthetics. In this case as well, the Combat Paper projects are certainly art. The works are raw, colorful, captivating, and interesting. To put it simply, they look nice. While they are filled with meaning and emotion, they are also pieces that would frankly look nice as prints for one to hang up in their living room to impress houseguests.

So often in contemporary art, the artist himself plays a monumental role in the work. Contemporary art is very focused on the individual and the status of this individual as an artistic “genius”; someone who is serious about art and intends to devote their lives to challenging the world and expressing unique views through visual representation. We often denote something as a great work of art by the name of the artist alone. As soon as someone finds out a painting is a Van Gogh, for instance, the value and status of the piece skyrockets. This is not because of the work itself but because of the status of the creator as a great post-impressionist artist in our contemporary time when, in van Gogh’s living life, the same exact works were paid no attention, only ever selling a single work to his brother out of pity. Art is in many aspects a popularity contest. The work itself is often overlooked, caring more about a brand name, in a sense. The contemporary art world places a strong emphasis on the individual, the artist, the creative genius. In this case, the Combat Paper projects may not be viewed as “art”. These people are not artists, just people visually representing their emotions and experiences in the midst of a war, almost as though it is a visual diary. If my crude and personal sketchbook were to be put on display in a gallery, would it be considered “art”? The individual’s names bear no real meaning to art viewers in this exhibition, their position as a veteran plays the more important role. When installing the show, in fact, we paid no mind to the names of the creators of the works, but the works themselves while picking and choosing the ones to exhibit. The “artist” of these works is practically irrelevant.

Personally, while I think Combat Paper is a powerful, educational, and wonderful exhibition, I have yet to come to a conclusion about this exhibition in relation to the contemporary art world. So what do you think? Are these veterans now considered “artists” or are their names still void of any true artistic status? Are these pieces “art” or simply the results of a sort of art therapy? What makes something art? And what makes someone an “artist”?

Post by Gabrielle Dunkley, Stamp Gallery of Art

The Stamp Gallery staff was tasked with the tremendous opportunity of curating a special exhibit this May. The meetings are over, the drafts are finalized, and the announcement has been made. After starting something that has the deceptive impression of being simple, you consider all of the work put into curating a good show.

Here is a compilation of steps necessary to get from point A to B.

You’ve got to know what you want to say.

Curating an exhibit is an exercise of collaboration as much as it is a feat of innovation. You are working with many brilliant minds at the same time and it is hard to excise one message from an ocean of ideas. Though many concepts may sound wonderful, few may prove to be executable.

• Have cycles of meetings featuring staff proposals; allow members to present their ideas and vote on the most feasible concepts.
• Weigh your supervisor’s guidelines and budget while considering proposals.
• Know your audience: select a concept that you can market to your patrons. This will involve plenty of research. An idea may sound interesting, but it must be developed enough to get people to walk through your doors. It doesn’t have to be a struggle between commercialization and avant garde. If a concept is developed, the exhibit space is thoughtfully designed, and the artists’ intent is properly represented, your audience won’t need Cliff’s Notes for the exhibit.

You’ve got to know how you want to say it.

Now comes the fun part: building an exhibit around your idea. After receiving budget approval and reserved exhibition space from your supervisor (or if you are curating on your own and you acquired your own grants and exhibit space), you’ll have to do some more research. Odds are, there are many people who said what you wanted to say. As much as you’d like to compete with them, it’s important to learn from them and their execution. You may have already researched your concept and the rhetoric you’d like to portray, but you must also research artists and spaces that have conveyed your concept in different mediums. Once your team has completed more research, you are ready for pre-production phase. This will involve much project management on your part. Every seemingly innocuous detail must be discussed, planned, and put into action.

• Begin drafting a project charter and internal/external communications for your exhibit.
  • What is the title? What is your statement of purpose? Are you proceeding with a tag line? Who is the lead curation team? What will your press release say? Where are you broadcasting your open call for submissions? Which artist databases are you soliciting through? Will there be an honorarium offered to selected artists? Is there an age limit? Are there medium restrictions (photography, paintings, literatures, visual projections, etc)?
• Solicit artists your team may have in mind for the exhibit. Some members may already have an artist in mind that they may feel fits the exhibit.
• Give yourself a timeline for acquiring submissions, marketing, selecting artists, installing the exhibit, and deinstalling the exhibit.
• Make preliminary designs for the exhibit space.
  • How do you want to present the concept? Are you making an environment welcoming or purposefully unnerving? Will the lighting ambiance be soft and airy or dark and ominous? Will you use spotlight treatments to create drama? Will there be visitor interaction with the exhibit pieces? How will the mediums compliment the lighting (i.e., creating darker spaces with moveable walls in conjunction with a video projection)? Will shadows from the wall conflict with the lighting? Are you generating visual pause with the spacing of your project? Will people want to stay in this space? How long? Do you want to generate an open space or an intricate space? How are the pieces going to speak with one another? Will the placement be mostly on the walls or on pedestals? Think about the visitor experience and how the design of the space will influence your visitor’s internalization of the art. Of course, these are only preliminary thoughts to consider — you cannot design until you secure the artist and the work.

Once you select an artist and work space, you’re prepared for cleaning up the administrative aspect to your project. Remember those seemingly innocuous details you have to plan?

• You’ll need to staff a team to prep the exhibit space (spackle holes in the wall from previous exhibits, painting over imperfections, cleaning up the acrylic so that the display is sparkling)
• Ensure the artists signed the contracts.
• Make sure the artwork is insured.
• Hire a printing press to publish the marketing materials.
• Is your artist having their work mailed to the exhibit space? Schedule a pick up /drop off procedure for the incoming art.
• Schedule a deadline for the artist to install/deinstall the exhibit.
• Copyedit all wall text, marketing materials, internal, and external communications.
• Double check to make sure all materials have been ordered in advance so that it will arrive in time for installation (vinyl, paint, labels, etc).

Be sure to dot every conceivable “i” and cross each and every “t” before you even think about opening the gallery doors on your grand opening.

You’ve got to say something worth listening to.

You know your audience, you have your title, you have your marketing communications, you have your project charter, and you have a team working on production behind the scenes. You might have a beautifully orchestrated exhibit, but you’ll need people to show up. Coordinating how to reach potential visitors and make them interested in your show is an art on its own. You’ll need to ensure that marketing for your show is reaching enough ears.

Remember all that time you spent looking up artists and previous work based around your concept? Who are their fans? Would they want to see your work? Create an avatar of your audience. How old is this visitor? Where do they hang out? How do they get their information? What are they interested in? How do they invest their time? What colors do they respond to? What register of language appeals to them? Are they old school or new school? Which typeface fits their aesthetic? Which newspapers are they reading? Which social media do they use? Which blogs are they scanning? Do they even read blogs? The bottom line is: how will your exhibit’s existence reach your prospective visitors? Are they going to learn from it from a flier by the coffee shop or an ad on a Facebook page?

• Get some analytics from previous shows that are similar to your exhibit: learn about their patrons and fans.
• Design marketing around a conceived avatar representing you prospective visitors. Make sure your marketing materials appeal to the audience you are trying to reach.
• Does your gallery already have a mailing list/roster of galleries, patrons, art spaces, and centers that they send communications to? Acquire that list and send out your official announcement of the show. It’s also ideal to thank and invite your sponsors personally.
• Keep communications on your social media sites and official marketing materials consistent.
• Plan reception event activities.
• Book caterers, assign staff members to attend the reception, set up the space, and clean up the space.
• Advertise the reception and offer it up as an opportunity to meet artists featured in the exhibit.
• Book radio air time, plan a route of public flier locations, forward digital copies of your exhibit announcement on listservs, make sure every press appearance that fits your budget has been accounted for before you rest.

You have to follow through.

There are roughly seven billion people on this earth. It is highly likely that they encounter at least one provocative, innovative, and remarkable idea worth executing in their lifetime. But it requires more than a great idea to put on a show. No matter how much you plan, things can happen that will require you to resort to contingencies to make the show go on. You may prepare for every fathomable outcome, but the law of averages is not interested in giving you the exact future you see for yourself or your work. Now that you have invested this much time in the exhibit, you have to show up beyond the grand opening.

• You must prep your gallery attendant staff with artist biographies, artwork annotations, and exhibit narratives so that visitors have a meaningful experience. Train them on best practices throughout the exhibit. This includes training on protecting the artwork, cleaning the space, and policing potential vandals.
• Make sure opening and closing procedures are clearly communicated to your staff so that your exhibit is safe in someone else’s hands.
• Monitor and log your visitors.
• Execute exhibit site maintenance; is the temperature of the exhibit space controlled? Are there any signs of wear on the material?
• Be there for every function (artist acquisition, marketing meetings, installation, opening reception, and deinstallation).
• See the project the whole way through. Your job doesn’t stop once you made it to the opening day. If there is a crisis twelve days into the exhibit, you have to show up.
• Keep in touch with contacts made during the exhibition and thank each and every person that contributed to your project.

What separates an event from a gathering is dedication. You have to believe in the concept the moment you pitch it. You have to invest in the marketing of the exhibit the moment you agree to curate it. You have to dedicate yourself to preserving the mission of the artists’ work, your vision, and the representation through the designing of the space. And most importantly, you have to remember why you are making this statement and who you are making the statement for. What populates those gallery walls is a serious responsibility. Curation is an exhaustively exhilarating and remarkable experience. The results can be groundbreaking if you commit to conveying an idea in a way that has not been done before. I wish all of you luck on your future curations and I hope you get the opportunity to see it through from conception all the way to birth.

Stay curious,

Gabrielle A. Dunkley

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Amani My Culture by Donna Perdue is one of the many highlights in the Stamp Gallery’s current exhibition Selections from Combat Paper. The Combat Paper program provides art-making workshops to veterans to reconcile their times in war. They cut up their fatigues to create paper and then express their experiences through painting and printing.

Donna Perdue was a Marine stationed in Africa during her service. This artwork is taken from a photograph she took of a refugee she came across. The work focuses in on the top portion of the refugee’s face. The viewer sees a set of eyes amongst the swirl of black and white. The eyes are striking and they leave the viewer questioning what the refugee is thinking and feeling. How does it feel to be in a refugee camp, miles away from home? The viewer is allowed to come up with their interpretation.

The use of a two-dimensional surface forces a barrier between the viewer and the artwork. Yet, Perdue attaches a piece of head jewelry to the paper. This piece of jewelry brings the refugee out in the viewer’s space. She is real and present. This presence makes the refugee’s story real and brings an awareness of the plights of refugees around the world. In the United States, we tend to forget how lucky we are that we do not live in a state of political turmoil.

We have our current state due to the work of these veterans. During the month of November, the Stamp Gallery has the show Selections from Combat Paper to recognize the veterans and their experiences. The exhibit not only demonstrates what the veterans went through to keep this country safe, but again to recognize that other parts of the world are not so fortunate as us to have a democratic country and a military to protect us.

Blog Post by: Sarah Buchanan, Stamp Gallery Staff, Class of 2013, Art History

One of the most notable works in our current exhibition Olivia Robinson: 1899-1902, and certainly the work that draws the most attention, would have to be “Context Poster: 1899-1902”. These 192 signs display what appears to be hundreds of randomly selected words assembled predominately in groups of three, with several posters presenting a single word.

While the posters may appear to be monochromatic and printed, upon closer viewing one can see that there is actually a combination of both black and navy blue hued words with slight imperfections, all individually and diligently hand painted by the artist herself. Although they may seem to be random, a very specific process was used in order to assemble this seemingly odd combination of words. Olivia Robinson’s exhibition stresses themes of labor, power, and resourcefulness, done so through commentary on the life of her metaphoric alter ego living between the years 1899-1902 who harvested and sold salt from her own sweat.

To produce these signs Olivia first chose the several words that best exemplify the message of her exhibition such as Salt, Labor, Power, Work, Health, Share, and Sweat. These words were individually entered into a database, along with the time period 1899-1902, to produce a list of other words often used in conjunction with the specific word in various forms of media at that specific time. These words were then collected and hand painted onto posters; the original words displayed individually and the produced words compiled into groups of three. This process not only verbally demonstrates the themes of this collection, but also creates exquisite and quirky accidental poetry. The outcomes are sad, powerful, humorous, or nonsensical, but all are equally beautiful, containing deep-seeded meaning.