Curatorial Statement: A Space of One's Own

Jamie Winter

Dr. Leanne Gilbertson

ARTZ 406: Gallery Practices

25 April 2014

Curatorial Statement: A Space of One’s Own

Women have been identified as muses and subject matter for artists and writers everywhere for centuries. As Virginia Woolf cleverly states, “Women have burnt like beacons in all the works of all the poets from the beginning of time. Indeed if woman had no existence save in the fiction written by men, one would imagine her a person of the utmost importance; very various; heroic and mean; splendid and sordid; beautiful and hideous in the extreme; as great as a man, some would say greater.” This distinction plays on the fact that women are primarily seen through the eyes of men, still, though their part in the artistic communities continues to grow. Woolf goes on the state that in order for a woman to be able to step off the pedestal they have occupied for years and become successful writers themselves they must have three things: an education, money, and a room of one’s own.  This creation of individualized space allows the writer to fully develop her own creative mind away from the influence of those around her. By doing so, the female writer can begin to visualize how she fits in to a world that is predominantly male.

The same can be said for female artists. To find a place within the art community a female artist must first establish where she fits into her surrounding space. When it comes to the personalization of internal spaces, artists Breanne Jarrett and Jamie LaRie Winter explore the ways in which they fit into classically feminine spaces such as bedrooms and living rooms. Their studies reflect a shift in roles of females and the contemporary perceptions of their bodies. Though they both confine themselves to interior spaces, Jarrett and Winter depict an expanse in mentality in the realms of motherhood and sex, respectively.

Artists Sydne Sherman and collaborators Jodi Lightner and Amber Stene show their relation to exterior spaces. Their portrayal of self in the exterior reflect a sense of a shift in personal growth and development as well as the influence played by outside sources such as mass media.

For this exhibit, I would like the artists to create their own spaces within the gallery that reflect their sense of space within their two dimensional work. For Jarrett and Winter, temporary walls will be placed in order for them to each create their own rooms. They would be encouraged to place objects that reflect their series (possibly domestic items for Jarrett, remnants of artistic process for Winter) and they symbolize what they believe to be their own space. Sherman would be placed in the surrounding areas of the gallery and could use the space as desired (possibly creating platforms and ledges). Lastly, Lightner and Stene would be placed in the outer cases and would also be encouraged to create the space as their own however they see fit.

Inventory

(All from Artists’ Personal Collections

Jamie LaRie Winter

1:30am

Coffee, wine, and India ink on paper

15” x 22”

2015

Jamie LaRie Winter

2am

Coffee, wine, and India ink on paper

15” x 22”

2015

Jamie LaRie Winter

4am

Coffee, wine, and India ink on paper

15” x 22”

2015

Jamie LaRie Winter

12:30am

Coffee, wine, and India ink on paper

15” x 22”

2015

Jamie LaRie Winter

12am

Coffee, wine, and India ink on paper

15” x 22”

2015

Jamie LaRie Winter

11:30pm

Coffee, wine, and India ink on paper

15” x 22”

2015

Breanna Jarrett

Untitled

Archival Pigment Print

24” x 16”

2014

Breanna Jarrett

Untitled

Archival Pigment Print

24” x 16”

2014

Breanna Jarrett

Untitled

Archival Pigment Print

24” x 16”

2014

Breanna Jarrett

Untitled

Archival Pigment Print

24” x 16”

2014

Breanna Jarrett

Untitled

Archival Pigment Print

24” x 16”

2014

Breanna Jarrett

Untitled

Archival Pigment Print

24” x 16”

2014

Sydne Sherman

Untitled

Digital C Print

Size

2014

Sydne Sherman

Untitled

Digital C Print

Size

2014

Sydne Sherman

Untitled

Digital C Print

Size

2014

Sydne Sherman

Untitled

Digital C Print

Size

2014

Sydne Sherman

Untitled

Digital C Print

Size

2014

Sydne Sherman

Untitled

Digital C Print

Size

2014

Jodi Lightner and Amber Stene

Unfurl

Acrylic and Watercolor on Yupo

20 “ x 26 “

2014

Jodi Lightner and Amber Stene

Strategem

Acrylic and Watercolor on Yupo

20 “ x 26 “

2014

Jodi Lightner and Amber Stene

Threshold

Acrylic and Watercolor on Yupo

26 “ x 26 “

2014

Breanna Jarrett

Untitled

Graphite on paper

11” x 17”

2014

Breanna Jarrett

Untitled

Graphite on paper

11” x 17”

2014

Breanna Jarrett

Untitled

Graphite on paper

11” x 17”

2014

Curratorial Project Proposal

A Space of One's Own

Virginia Woolf’s feminist literary criticism begins with the belief that in order for a woman to be a successful writer she must first have a room of her own. The same can be said for female artists. To find a place within the art community a female artist must first establish where she fits into her surrounding space. The work of artists Breanna Jarrett, Sydne Sherman, Jamie Winter, and collaborative pair Jodi Lightner and Amber Stene all explore female portraiture with a relation to their surrounding space.



(2D? Interior vs exterior? Website? Cases????)

Press Release Rough

FOR IMMEDIATE RELEASE: February 27, 2015

Montana State University’s Student Gallery Presents 4AM by Jamie LaRie Winter, March 15 – March 27, 2015
Closing Reception–March 27th, 5–7pm, MSUB Student Gallery

Billings, MT – 4AM explores the thoughts behind the anonymous quote "And if you are awake at 4AM, you are either in love or lonely, and I don’t know which one is worse." This series of narrative paintings follows the progression of being both and the honesty that arises from late nights and a slow and deliberate intoxication. 

Using wine and coffee, Jamie LaRie Winter paints expressive portraits intermixed with the thought process that accompanies being lonely and in love at 4AM and the coping mechanisms that follow. She believes that by combining her art and writing she is able to present a sincere form of communication that creates a textual aesthetic.

Winter will be graduating in May 2015 with a BA in English and Art from Montana State University Billings. Coming from a relatively isolated state, she hopes to move to the west coast after graduation to a more urban location to further her exploration of art with diversified surroundings. 

Winter's writing explores her own internal monologue as well the hidden aspects of those surrounding her, which then influences her portrait centered art practice. She finds inspiration in literature and poetry, indie films, travel, and people watching. 

She has shown in small group and juried shows such as the 4x4 Show in Powell, WY, the Art Students League’s Annual Art Auction and the Northcutt Steele Gallery’s Juried Student Show in Billings, MT.

There will be a closing reception from 5–7pm March 27th in the Montana State University Billings Student Gallery located on the first floor of the Liberal Arts Building. Gallery hours are 8am–4pm, Monday through Friday. 

The exhibition and reception are free and open to the public.

Jamie LaRie Winter, Title, coffee, wine, and India ink on paper, dimension, 2015.

Call for Art Excercise

Northcutt-Steele Gallery Call for Art

Deadline: October 1, 2015

The Northcutt-Steele Gallery of Montana State University Billings is currently accepting artist proposals for Fall 2016. NSG showcases four professional artists a year on a national scope. Artists are also encouraged to present talks about their work and experiences and conduct workshops.

Eligibility

All artists living in the U.S. ages 18 or over. All media will be considered. Original work only. No works previously exhibited at the Northcutt-Steele Gallery will be accepted. Work may be representational, abstract, conceptual or non-representational.

Submission Criteria

-Letter of intent or exhibition proposal in a Word document or PDF file.

-In 500 words or less. Please be sure to include:

-Contact information

-Title and description, concept and physical details.

-Requested gallery space and any requests for equipment or special installation requirements

-Any budgetary concerns

-Resumé(s) or CV(s) for all proposed participating artists each in its own Word document or PDF file.

-Images. NO MORE THAN 15 digital images in jpg format. Numbers should be used in the file names beginning with 01.jpg. Each image must be 1MB or SMALLER. Any files not meeting these requirements may not be viewed when considering your proposal.

-Video. Video samples may be submitted on DVD or CD. Videos must be ready to play on a computer using Windows Media Player or Quick Time.

Send submissions to:

Northcutt Steele Gallery

Liberal Arts Building, 1st Floor

1500 University Drive

Billings, MT  59101

Dr. Leanne Gilbertson, Gallery Director

406-657-2903

Leanne.Gilbertson@msubillings.edu

ASL Art Auction

Section A


For the ASL Art Auction, my group had section A. There were a few spatial issues we had to deal with, such as how to utilize the space when there was a large set of doors interrupting our wall space as well as a large trash can. Unlike the other two sections, we had plenty of space to the point of our section almost seeming bare in comparison. We also had a higher amount of more subtle pieces and photography with only a few pieces with large amounts of color. We used one of these as the anchor piece, leading into our section and separated from the other pieces which far too subtle in comparison.

After leading viewers into our section with a piece with the heaviest visual weight, we allowed for plenty of space before leading into what was one of the more challenging pieces to display.

With this series of four, we struggled with finding a way to display them. The artist requested that they be displayed in a grid format on the wall, but with the limited supplies available we did not have a good way of attaching the pieces. Melissa ended up coming up with the idea of using velcro, attaching one side of the velcro to a clothespin that we had holding the coated wire on the back of each piece. The series took up a fair amount of space and was also one of the stronger entries in our section (it was also had the highest selling price, I believe).

We had multiple photographs and photo manipulations that we separated in oder to avoid a feeling of repetition in the section. We did the same for the multiple black and white images as well. Luckily the amount of space we had made this possible, as well as allowing for plenty of space around each piece to minimize the impact of the pieces around them.

As far as pieces with compositional direction, the piece that we used most for the purpose of directing was Bonny's piece. The direction and size of the piece was a great way to keep the movement through the area and help viewers look past the doors and trashcan behind and turn to look at the pieces behind. Being another piece with vivid color, it was helpful to have the space around to balance the image.

The other issue we ran into, which was easily fixed, was the spacing of one of our sections surrounding Maria's 3D piece. We were afraid viewers would try to walk through the space between the pieces because it was just big enough to pass through. We adjusted the spacing of the section to discourage this.

Jan 23 Assignment - Vanessa German Exhibit

Functional Considerations

Traffic flow has been considered for this show. Each piece has a considerable amount of walking room so that the viewer can see all angles of every given piece. The pieces command a lot of space and it is adequately given. I can see the materials used for each piece posing a problem when it comes to archiving. Each sculpture is made up of a variety of things that could cause a problem when it comes to preservation, especially since the pieces can be touched by viewers. The reading heights for the hanging pieces are comfortable, but the ones on the sculpture are not so much. With no alternative to offer, considering the pieces and the placement, I would say they were well placed, though. I would say a disabled person would be able to see the show with ease. As mentioned above, there is plenty of room between each piece to move through the exhibit, even with a considerable amount of people in the gallery. The chosen typography is easy to read. The sans serif font is clean and simple, without any added ornamentation to distract from the pieces themselves.

Formal Considerations

As mentioned in the previous section, I find the font choice and size effective. It isn't too busy, it's clean and doesn't distract from the work. It serves its purpose of providing information alongside the art. I would say there is a visual unity of elements. The repetition of objects and materials used helps carry the viewer through the gallery as well as the repetition of the image of Dehlia on the majority of the pieces. The exhibit does have a particular style. It has an eclectic feel to the building up of each sculpture that adds a sense of nostalgia to each piece. It's a bit whimsical, even with the references to violence and slavery. Each piece has a deep sense of emotion and immersion.

Conceptual Considerations

Vanessa German's exhibit bitter root displays a collection of sculptures that utilize found objects to create pieces that embody the struggle to overcome slavery and violence in a poverty stricken African American dominated community.  I would say it is a fluid sequence, not requiring a certain path in order to take in the depth of the show. For Vanessa's work I do not think a linear sequence would be beneficial. I find linear better in shows that have a very specific narrative in mind whereas Vanessa's work seems to be more of a grouping of her individualized sculptures. 

Visitor Observations

I think visitors under the age of 25 could at least appreciate the visual stimulation of the work; the color, objects, and somewhat playful nature of the sculptures can appeal to a younger audience even if they do not grasp the deeper aspects of the work. Viewers over the age of 25 would be able to grasp the depth of the work and I believe that would be the most popular aspect for them. Least popular for both, I think, is the fact that the work has to do with black culture. Billings being a high percentage of Caucasian residents may not relate as fully to the work as if it were shown in Pittsburgh. There have also been some negative comments coming from students who are of African American descent who view the work as demeaning, though I don't think they bothered to truly interpret the work or even read the artists statement that was provided at the entrance to the gallery. I believe it is an art experience that would be fairly easy to share and discuss. It is a lively show done by an artist with a great sense of community and I think that feeling comes out. If I could change one aspect of the space it would be the break in the floor where it switches from carpet to tile. I'd prefer it have one or the other. I don't like the separation that is created.