Wednesday, January 11, 2012

Anamnesis

Sorry I have not been on the ball with posting recently, and in fact I had been so busy that it slipped my mind to mention something really exciting!


I currently have a show up at the Centre Gallery, a student run facility on the USF campus.

You can find out more at the Facebook event page here.

From the event page:

"The Centre Gallery Presents “Anamnesis”
A self-exploration of identity and disability through multi-media
Tampa, FL (January 5, 2012) – From January 9 through 20, the Centre Gallery at the University of South Florida will host Anamnesis. Visitors to the gallery will be exposed to the artists’ representation of self and are encouraged to take an inward look at themselves and their own ideas of self as part of the experience. The exhibit will include various multi-media pieces including hand toned paper, charcoals, ink, paint, and other materials. There is also a photographic series that consists of digital compositions created through multiple steps of process, including self portraiture and vellum assemblages. Other works include sculptural materials such as clay, wax, plastic sheeting, and wood.

“With work like this it would be too easy to say something like “the inner workings of my mind, self expression” or so on. But that's not really true. They are really just getting the imprints of some process that is going on in my head, a symptom or evidence of a greater whole.”

Shannon Buchanan, 24, is currently a Senior set to graduate next fall with a BFA in Art studio.

The Anamnesis reception will be held from 7 to 9 p.m. on Friday, January 20th, in the Centre Gallery at the Marshall Student Center in room 2700, 4202 E. Fowler Ave., Tampa, Fla. It is free and open to the public. Gallery hours are 10 a.m. to 5 p.m., Monday through Friday.
For more information, please contact the Centre Gallery at 813-974-5464.
About the Centre Gallery Centre Gallery is an innovative, student-run art exhibition space at the University of South Florida. Located in the Marshall Student Center room 2700, Centre Gallery (www.centregallery.usf.edu) is free and open to the public. The gallery hours are Monday through Friday, 10 a.m. to 5 p.m."


The show features some all new work, and I really hope I will see a nice turn out during it's run and for the reception. I know the readership of this blog is limited to "people who probably already know this is happening", but it's never bad to have the information out there and available.

Sunday, January 1, 2012

My Website

I suppose I should mention that my website has launched - actually it did awhile ago, but I in all my amazingness forgot to add a link from this blog, and not just from the site to here.

Anyway, here it is:

www.ShannonBuchanan.net

I hope it was worth the wait.

Saturday, November 5, 2011

Link Parade



Apparently people have had some serious problems distinguishing art from trash. It speaks highly of the profession, don't you think? Though I do wonder what possessed someone to clean an art piece.
This blog is amazing. It pokes fun at the wonderfully broken and awkward anatomy that plague breasts (and women in general) in comic art.

I do so adore Ursula Vernon.

James Caprell does abstract right, even if it is occasionally a little commercial. Iva Gueorguieva, however, does it much much better. I was blown away when I saw her work in person.

A friend of mine introduced me to Zdzislaw Beksinski. Wonderful, wonderful.

Ana Teresa Fernandez creates surreal photorealistic oil paintings.

One of my exes very much adored James Jean, and I am glad he did not ruin my enjoyment of him.

The Illuminated Silmarillion. Or, for those more traditionally minded.

Some ridiculously over ornate pistols.
I remember first seeing video of Tim Hawkinson's Uberorgan some years ago, but was recently reminded of it.

I've known about Jen Stark for awhile now, even before she was internet famous, as she is a semi-local artist.


A strong series of work by a teenage girl out of tokyo.

Diana Al-Hadid
is one of my favorite sculptors, and I have had the pleasure of hearing her lecture and seeing several of her pieces in person. She recently did a work with the USF Graphicstudio, which they talk a bit about here.

Here is a pretty intriguing photo project about familiar relations.

Adam Lewis does amazingly photorealistic 3-D renders.

Brent Stirton does some killer documentary photography.

Fascinating environmental paintings by Josh Keyes.

Ryan Shultz has a thing for drugs.

I want one of these.

Have I linked to Peter Callesen before?

God I wish I had the mind for detail that this man has. Along a similar vein is this.

This, on the other hand, is simply insane.

Michael Ezra makes some particularly nice nude photography.

How to make cheap, quick and dirty, studio quality product shots.


Allan Mailland makes me miss working with wood. Something similar, but entirely different, is Jennifer Maestre.

Katsoyu Aoki produces incredible ceramics work.

Michihiro Matsuoka, on the other hand, makes an entirely different kind of sculpture.

A new toy from our friends at Wacom.

In case you didn't know of it.

And because everyone should be reminded now and then of Andy Goldsworthy.

This is fantastic. There is some 3-D wallpaper by Trenton Doyle at Graphicstudio, but it ain't got nuttin on this.

Some pretty rockin posters and illustration, and here as well, and here too.


I find it interesting that some people still stand staunchly that there is a divide between "low art" and "high art" when I see any separation dissolving rather quickly. See: Mike Mitchell.

The Heilbrunn Timeline of History is a simply amazing resource. Please do take a look at it.

I am honestly surprised sometimes that the Skull-A-Day project is still running.

Recently I was told that some of my photos had read as too "graphic", as if that were in an insult. The same has been said of my drawings as well. But I do find myself really inspired by works such as this.

Amy Shackleton paints images entirely without the use of a brush, preferring to pour it straight on the canvas - but not in the way you'd think.

Maybe I should have taken that class in underwater basket weaving...


Paul Chiappe does some great work. I am reminded of someone else, but the name escapes me...

Deserts made of meat. Simply lovely.

I was originally going to just link to Jaime Pitarch, but really all of the featured artists are quite good.

I am not sure what this is, but I like it.

Is it wrong that I like this guy's sketchbook more than his illustration?

I want to know more about this artist.

Henry Justic Ford illustrated many of the fairy tale books I read as a child and has probably been a subconscious inspiration.

Tuesday, October 4, 2011

How to Become a Better Artist (Without Making Art)

Forgive me if this goes astray a little, I transposed and updated a list I made some time ago while dreadfully sick. I still think the information is useful, though I might have to do some editing later to streamline the experience.


How to Become a Better Artist
(Without Making Art)

or How to Supplement Your 10,000 Hours


Look at art, collect art. Be involved in art. Surround yourself with it. Go to shows, browse galleries online. Talk art, live art, breathe art. Immerse yourself in it.

Read about art. Fuck it - just read. Reading has been shown to quantifiably increase IQ and strengthen vocabulary, and it is known that success as an artist is directly correlated with general intelligence and breadth of knowledge. Artists, when taken in general, are perhaps less well read than other academics, but successful artists have been shown to one of the most highly versed sub groups. I'm not making this up. There is nothing but benefits for the well read mind. Another benefit has to do with intuition – the more you have filed away in your subconscious, the more you will be drawing from when your background processes start chugging away or you slip into “the zone” and start hammering out that piece you are enthralled with. If you only know three things, then all of your work will consist of those three things in various forms. If you know the world, you have the world at your disposal.

Seriously, read.

Study the masters, learn your art history. Learn where you come from, both to increase technique, gain inspiration, and just to see where you are coming from – and thus where you might be going. And never forget: one source is plagiarism, many is inspiration.

While you're at it examine in detail color theory, typography, layout and design. Spend some time learning the psychology of art, even dip into advertising.

Learn a little about post modernism. That's sort of the thing that's going on right now. You don't have to live by it, but you need to be aware of it.

Think about things that inspire you. Why do they inspire you? Really start to examine yourself as an artist and ask yourself the important questions. Why do you make art? Why do you work the way you work? You might learn a bit about yourself and it might further your development in unforeseen ways.

Investigate the world around you. Be an observer, do some people watching. Really dig into the minutiae of life. Go on trips, to foreign countries or just around the block. Just try to see things in a way you've never done before. Don't be a passive observer either, really actively involve yourself in the act of viewing, do it consciously, not just as a back drop to your other activities. A beginning artist is often told to look more at the model and less at his sketch pad, we need to learn how to see and not just look.

Do brain expanding exercises. There are a variety of these and many are easily found online with a quick search. Things such as drawing with your left hand or doing a blind contour drawing (I know, I know, that's making art and I am totally cheating, but I doubt it will be anything to write your mother about, and plenty of them don't involve a pad and pen).

Introduce yourself to things you don't know, and maybe don't even necessarily like. Not just art, but in a variety of media including music, books, and movies. If you don't like it, really chew on it and try to decide why you don't rather than dismissing it automatically. Either way, learn from it.

Collect materials that inspire you. Like a raven with shiny baubles, surround yourself with things you find interesting. These could be items you find inspirational, items that you want to use in future projects, or simply be fun to look at. Hobbyists are adept at this and often contain full rooms of odds and ends (not that you need to go this far). If collage appeals to you, collect discarded magazines, if sculpture is your thing then help that local demolition site discard of a few choice materials. They won't miss them. Good sources for discovery include swap meets, garage sales, and flea markets, but don't think too highly of yourself to go sorting through someone's trash to find that astounding thing you never knew you needed. Of course this includes more “mundane” things like paintings and paintbrushes, or just news clippings, colored paper and photos. Even just a recollection of patterns or prints is useful to many artists, as are things pulled from nature.

Be open to new experiences. If someone offers you an opportunity to embark into the unfamiliar, by all means take it. Each new outlook enhances your internal “palette” of experience that you can later draw from to create your works.

Create a space you feel comfortable working in. This is really important for some people. It might be hard to work crammed into a corner with your flatmate's kegger going on around you, but then again, maybe it wouldn't be.

Make friends with artists. Peer groups are invaluable, as is honest critical discussion. If your friends are too caring to really dish it out, find someone who will. Also, like all things in life it helps to do your networking.

Always, always daydream and keep those thoughts circulating in your head. Seek out ideas and concepts, not just hard facts. Philosophy and the intellectual have been mothers to art since time immemorial and their influence only seems to increase as time progresses.

Never give in to your fear. You don't have to impress anyone, no one starts out a prodigy. Failure is needed to grow and learn. Just keep on going.

Thursday, September 22, 2011

Blue

So I have some new work! This isn't all I've been doing lately, but it's certainly a lot easier to share (and is actually complete). The series is tentatively titled "Something Borrowed, Something Blue". I sort of wanted to have a conversation about gender roles, specifically concerning ideas about things like chastity and female expectations. I think though, I will let the work speak for itself:
https://www.flickr.com/photos/42363504@N08/sets/72157627972534378/
Something Borrowed, Something Blue

Wednesday, July 20, 2011

Fix

Re-post from Facebook, Dec. 3, 2010:

Fix

To "fix" a photo has different meanings. When we still operated in darkrooms we would use fixatives to stop the paper from further developing, we would “fix” the image to the paper.

We also get rid of problems, we edit and repair and clean and touch up. We fix things. Photographs are an imperfect documentation of reality, distorted by the subjective view of the photographer. Regardless of intent they ascribe their own beliefs and understandings, their own vantage points, to the work. They choose, cut, crop, and decide from the beginning at what they point their lens. This idea is nothing new or unique, many have spent decades addressing it, such as artist and writer Allan Sekula, along with any number of art critics.

The photograph does and doesn't lie, it is high art and the basest form of art. Even in hard journalism we “clean” and correct, or outright mislead. The famous photo of the Kent state killings exists in two forms, one of which shows a poll behind a crying woman, bisecting her head. In the other, it has been removed for simple aesthetic reasons. To speak contemporarily, Reuters released an obviously doctored image of smoke over an Iraqi city, in another missiles are duplicated. There are questions about placing objects in situ and using what accounts to models to add planned grief and humanity to war photos. Most recently they came under attack for selectively cropping images released involving the Gaza flotilla, drastically changing the message and impact. Cropping is understood to be almost negligible as far as photo editing is concerned, but can have a profound affect on image. A photo represents a reality, it is a document, a moment in time, and here we are fixing our photos. Fixing reality.

There is another definition of “fix” that I did not mention before. When an athlete cheats a race, or an accountant fudges the numbers, they are “fixing” the results. A fixed race is one with predictable and exploited outcomes.

Photography, you see, is almost inherently a fixed result.


Space Cadet

Re-post from Facebook, Nov. 10, 2010:

Space Cadet

Where are you coming from? You yobs and hipsters right? Street art and DIY? Where is MY movement?

We embrace and denounce consumerism and kitsch simultaneously, us fucking hypocrites. We're so cool, so cool and pretentious and god damn hypocrites. Don't get me wrong, I'm one too. But we aren't that talented. I mean, everyone is talented nowadays. We love this democratization of art, but it leaves you without anywhere to put your feet down. You see, there are factories in China where they remake masterpieces over and over again without a thought. With billions of people and global communication, skill isn't hard to come by. It's absurdly Dadaist, if you think about it. Actual production is replaced by the abject and subjective. We sell ideas nowadays, that's where the money shot is. Suck it down, humanity!

So what about us. We are the pulp children, lost in space, but the great unknown has all been done before, and fuck all covered in ads and bottled and sold to us in tiny easily digestible chunks. We don't have a way left to rebel, we sell sensational because we were raised to feel sensational and nobody even looks at us. The more I look for the edge of the horizon, the more educated and worldly I get, the further out it goes, been there, done that. So where do we go but outward and up anyways, all the same? Have to go somewhere.

We are the space cadets, untethered out there. We can't give you any answers you haven't already heard. Just our own imperfect and obviously flawed subjective opinions. I don't really want to say it all over again, but I can't sit back and not speak. Because I'm a fucking artist.
God damn it, why did I have to be a fucking artist?