Wow!!! I found this artist on tumblr via the first comic in the above slideshow. Unfortunately, as with many artists with a mainly-online presence, it was very hard to find the original source of most of the work I saw. Almost every picture came from somebody's personal blog or Pinterest, and though I tried to trace it back to Meyer, I could not find the original source or title for all of them.
I think he draws with pencil (maybe pen?) on paper then scans it and colors/finishes it digitally. What caught my eye about him is that he makes comics without necessarily solid storylines. Here are two full comics that he did: http://thomkemeyer.tumblr.com/post/107586061793/finally-i-finished-the-first-10-pages-for-my-comic and http://thomkemeyer.tumblr.com/post/154158161283/a-few-pages-i-did-a-while-ago-they-are-part-of-a . I couldn't find the source for the last two images I put in (the one with the fruit and the walking feet)
Something about the comics is similar to what I strive to achieve in my "comics" (really just a collection of related images): he includes scenes not explicitly relevant to the story. Each panel is from a different perspective of a scene, and some aren't even focused on the subject. I really like this way of setting the scene for an illustration - rather than drawing a full illustration including the subject and each component in its place, you can include the subject in a few panels (thus also allowing for the inclusion of the passage of time and different perspectives) and the setting in other panels. I don't know if this is coherent, but I really like this idea and hope that I can make work that successfully accomplishes this goal.
Here's one of his websites: https://www.behance.net/thomkemeyer
I made a note on my computer a few months ago: "malifischer awareness." When I looked up Mali Fischer again recently, I was not as impressed as I think I initially was. However, I stumbled upon the image that led me to her and wow! I still really like it.
Fischer works with pens and markers to create simple illustrations of young women. The technical skill in lining and coloring makes the work look digital, in my opinion. Her work is one example of why I like the look of little line quality. She draws with flowers very often, which, hey, is very applicable to me. I love flowers and drawing them so I like to see other work with flowers. A lot of the work seems tired or mellow, and I like the vibe. I like the choice to include some text in the work, and might do that with mine in the future.
One thing I am not a fan of is that she occasionally makes odd-looking anatomical choices, where the faces or bodies of the subject just look wrong. I like the work that seems more refined and less distorted, like The One to Print and Looking Forward.
I also really liked the thank-you cards, and thought, hm, I could try doing that, since I often don't have meaning/content for my work. Designing a little card would be a fun thing to do, I think.
I'll be honest, I often forget about this component of the website until it's almost too late (and once, it was too late, oops.) We usually go see an exhibition during class sometime, so if we don't do that, it's not hard for me to forget that I have to go out on my own.
I wanted to go either to the VMFA or the Visual Arts Center since both are near school, but I'm currently a bit tired of the VMFA so I went to the Visual Arts Center. Unfortunately the man at the entrance told me that they were currently in-between exhibitions, so there was no exhibition for me to see. However, he told me I was free to explore the center, which was mostly classrooms.
I found it a fun experience, honestly. It didn't feel like I should be allowed to wander into dark empty rooms and through empty upstairs hallways in this building, but I was. There were student works displayed throughout the center, and I took photos of the ones I liked. I kind of want to attend a class here someday, because it looks like it would be very beneficial - there were sheets of anatomy study outside the drawing room, hundreds of beads on the sill of the jewelry room, photos hung outside the dark room, tens of easels and paintbrushes in the cartoon and animation room, and I could go on. It looked like all the students were very productive, and they had rooms for things I was interested in, such as graphic design and digital art, cartoon and animation, painting and drawing, and jewelry making. I liked seeing what people had made in these courses.
I think if you read my captions on the pictures you'll get more of a sense of my impressions. Some of the doodles outside the drawing room reminded me of my doodles, and one (bottom left) reminded me of Jordan Keller's drawings. I really liked the prints, with bold colors and lines with intent. The sheep one is my favorite between the two, because of the colors. I quite like the incomplete circle of yellow (ochre?) behind the sheep. I don't think I would use such bold color in any of my work, but I definitely really appreciate its aesthetic. The lines of the glass flower work are really nice - I really like the bold outline with the softer shading inside. If I ever did a particularly intensive or big project, I would hope to try something like this.
So, not an experience I expected, but definitely one I enjoyed. It's cool to see the work of learning artists-in-the-making rather than only the more established artists who can have their own exhibition.
Since we only had one reading this go-round, I wasn't sure how to approach this Connection, so I'll just share my thoughts and response to the reading.
To be honest, this kind of "art" doesn't seem like it is art to me. Something can still be cool and inspiring without being art, and I personally feel that slapping the label "art" onto these kinds of events is a stretch. "On an aesthetic level, they can also be befuddling, perceived as too much like community organizing to feel truly like art." Yeah, I'd agree. I don't feel too guilty for saying this, because everybody's definition of "art" is different. Mine just doesn't include social practice art.
The reading contained one definition for social practice: “art that’s socially engaged, where the social interaction is at some level the art." I understand the first part, but the second gets at what I said in the previous paragraph. Socially-engaged art can be cool, but I don't feel like social interaction is art except in a figurative sense. Another artist comments on "manufactured interactions" as being un-rare in the art world, He then goes on to provide an example of how Apple stores are intended to have a social interaction-fostering environment, saying that "there is a global interest in human interaction." Okay. But just because there is interest in it does not inherently make it art; are Apple employees now artists and the stores themselves art, simply because they operate on a more sympathetic system than typical stores?
That's not to say that these works of social practice art are bad or worthless - not at all! Bringing attention to environmental and social issues is important, as well as forging solutions for these issues, and it's great that people are putting together these projects to make a change or impact on the world or just a single community. I just don't think it fits the label "art." Additionally, I feel that bringing in the "art" component can actually decrease the social benefit of the work. If an artist is focused not only on helping a community, but also on giving it artistic aesthetic or ideation, then it distracts them from putting their all into their activism. Just advocate for the sake of advocating, not for the sake of making art. This is also indicative of a greater issue within just the art community, which is professional critique - of course it's helpful, but it also creates a pressure on the artist to aim for certain ideals that will be well-perceived, rather than simply creating art for themselves.
This phrase, though, said by Rick Lowe (the creator of Project Row Houses): “It’d be an arrogant disregard of a community to come in and think you can grasp all the complexities of a place in a short time.” I agree with this and I'm glad he said it. I don't have much elaboration for it, but I do interact with people who think that they immediately have the knowledge to participate in discussion of another community (i.e. a cisgender person telling transgender people what they should or should not consider oppression.) People have to learn about a community, learn about its people, learn about its unique issues and its unique strengths, and learn about its past and future. This is crucial to progress as humans - we have to first lose our pride and admit ignorance, but show willingness to learn in order to advocate and help.
Well, sorry that this maybe wasn't so connected to my art or art in general this time.
hello. i started Final Work on my piece this week, beginning with the flowers, with which i am mildly satisfied. they don't feel completely balanced to me and i'm not sure if i will add more.
i also started inking and noticed a possible anatomy fault? so i tried to correct it then spent about half an hour trying to draw her face in a way that didn't make it look oddly tiny. i did not succeed and she is still faceless
Before painting on the actual piece, I used the snow days to practice watercolor flowers. I was very satisfied with the small flowers, buds, and leaves, but the big flowers turned out Very Ugly and I need to figure out how to fix that.
Kristin Hines - Student artist at Maggie L. Walker Governor's School