Chinese American Service League Art

Here in Chicago we spent a day at the Chinese American Service League. We did art with senior citizens and helped those who need any assistance. It was very relaxing and therapeutic. Master Calligrapher from China, Mr. Wong showed us how to do calligraphy and how to write our names in Chinese. The children showed us their amazing works of art and they showed us how to make origami. What a great way to experience and partake in art from another culture!

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Working Bikes Art

While here in Chicago we volunteered at Working Bikes. Here they took in donations of old bicycles and then repurposed them. Old bikes are now Art, machines, gizmos and much more. Tires are made into other things such as belts and ties. The bikes that can be salvaged are fixed up and then given to local underprivileged kids in Chicago and some are shipped to developing countries overseas.

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           Dog sculptures from Bicycle parts!     ~~~Article!437ab06501b4877eb88c8e0c0893e704

Museum Journal

During my time in Chicago for the National Art Education Association Conference I visited The Art Institute of Chicago. It is quite a spectacular museum albeit crowded the day I went. Because I didn’t have a lot of time at the museum I tried to look everywhere but had to quickly. The iconic images that I had learned about in my art history classes at Kent State jumped out to me. It was amazing to see the works that my professors were talking about in person! Georges Seurat, A Sunday on La Grande Jatte was one that I had spent time discussing in my Art History 2 class. Also, works by Monet and Paris Street; Rainy Day by artist Gustave Caillebotte stood out to me from lectures. I can’t wait to go back to this exceptional museum!


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e-flux article: Kishio Suga: Situated Latency



 “Kishio Suga (b. 1944) belongs to the Mono-ha (School of Things) art movement, which began in the late 1960s. This movement represented a departure from notions of representation and the artist’s intention, and instead aimed at allowing material to speak for itself. It was part of a new artistic direction in which there was a shift from subject to substance or from subjectivity to objectivity. Arte Povera, Supports/Surfaces, and Earthworks are examples of similar movements that emerged at around the same time, in which ideas around subjective knowledge and perspective were reexamined.” – e-flux

Suga’s work relates to us today in our digital world. His art re-explores things and materiality. His installations take place in a given space consisting of materials such as stone, wood, and metal plates. Together they generate a situation (kei) that arises as a consequence of the coexistence of each piece of matter. Matter coexists in a group, and a mutual connectivity (renkansei) is born from that situation. By manipulating these intellectually, and with abundant sensitivity, space and matter begin to transform. The activation of space resulting from the intervention of the creative act is the essence of Suga’s art.

Rosiland Krauss “Sculpture in the Expanded Field”


Rosiland Krauss explores sculpture in the form of earthworks. She thinks that more recently more and more things are being considered sculpture. As the term sculpture is now more loosely applied, old forms are looked to to legitimize the title for these works. Krauss makes the point that if modern earthworks are considered sculpture then so would be Stonehenge and Toltec ball-courts. But these are not at all sculpture, they serve a different purpose. Krauss explains how the term sculpture has been obscured. She states that the purest examples that come to her mind are by Robert Morris done in the 1960s. The outdoor exhibition (pictured below) of mirrored boxes – forms which are distinct from the setting because it is not actually part of the landscape although it blends in visually. In this sense the art falls into the category of not sculpture and not architecture. Krauss gives the title site construction to works such as Partially Buried Woodshed by Robert Smithson at Kent State University. The term marked sites can be used to identify works such as Robert Smithson’s  Spiral Jetty.




Yoko Ono MoMA show

The New York Times on Yoko Ono


Yoko Ono Faked a solo show at the Museum of Modern Art in 1971!

“Tangible evidence of that 1971 MoMA solo exists. There are photographs of Ms. Ono standing with her work in the museum’s Sculpture Garden. There are newspaper clippings of advertisements for the show, even a few reviews. But, it turns out, the “reviews” are just quotes collected from visitors. The Sculpture Garden shot is a cut-and-paste job. So is a promotional image of her seen standing outside the museum, under an awning emblazoned with its name. She holds a large shopping bag printed with the letter “F” and positions it near the “A” in Art.” -New York Times

Just this year her solo show became a reality. One of the many art pieces in her how was her book titled: Grapefruit.

“The book, probably Ms. Ono’s best known piece, had an inauspicious start. Ms. Ono compiled it from accumulated manuscripts and self-published it in the cheapest possible format. At the time, her reputation was still confined to a small circle of avant-garde artists, writers and musicians in New York and Tokyo. Even though what she was doing in the book with language and ideas was radical, work that would bring fame later to Conceptual artists like Joseph Kosuth and Lawrence Weiner, she could barely give copies away.” -New york Times