Below is a t-shirt she created in 1984.
From her Truisms series.
Sunday, April 26, 2015
Answer from the question in Chapter 3
Jenny Holzer uses text projected onto buildings or applies text directly to a shirt or hat. Her text expresses an idea or thought and she seems to consider the application, either in an ironic sense or adding to the emotion of the text. She uses advertising techniques to display the texts and uses space and text size to compound the impact of the texts. As an installation artist, I imagine the location, space, placement is all very important and significant in whatever the artwork because you're no longer using the framework of the white-box gallery/museum. Therefore, the viewer is seeing what is surrounding the artwork and it impacts their perception. Just like, viewing an outdoor piece, the weather will have an influence on the viewer. Perhaps the viewer hates rain and it happens to be raining, can they be objective then? Or is that person going to be swayed in there opinion or experience because of an unforeseen detail?
Below is a t-shirt she created in 1984.
These are from 1983-85, during the beginning of the AIDS epidemic.
From her Truisms series.
Below is a t-shirt she created in 1984.
From her Truisms series.
Saturday, February 28, 2015
Press Release Exercise
For Immediate Release: October 20, 2022
MSUB's Northcutt Steele Gallery Presents Eat Me! by Melissa Morford, October 18- November 2, 2022
In Eat Me!, Melissa Morford confronts the links between food and sexuality, literally and figuratively. She is concerned with the lack of discourse in regards to both subjects and wants to provide an ice breaker, so to speak.
Morford is working towards her BFA with a focus in new media, printmaking, ceramics, and anything else that floats her boat.
Please join us October 18 for an opening reception beginning at 5pm and ending at 8pm, in the LA Building, Northcutt Steele Gallery. Food, beverages, and music will be provided free of charge.
MSUB's Northcutt Steele Gallery Presents Eat Me! by Melissa Morford, October 18- November 2, 2022
In Eat Me!, Melissa Morford confronts the links between food and sexuality, literally and figuratively. She is concerned with the lack of discourse in regards to both subjects and wants to provide an ice breaker, so to speak.
Morford is working towards her BFA with a focus in new media, printmaking, ceramics, and anything else that floats her boat.
Please join us October 18 for an opening reception beginning at 5pm and ending at 8pm, in the LA Building, Northcutt Steele Gallery. Food, beverages, and music will be provided free of charge.
Thursday, February 19, 2015
Northcutt Steele Gallery Exhibition Call
Northcutt Steele Gallery 2017 Call for Submissions
Submission Deadline: December 31, 2015
Notification Date: February 14, 2016
Who: All working 2D and/or 3D artists in the US.
Where: Northcutt Steele Gallery, Montana State University, Billings, Montana
(link here to the floorplans)
What:
Northcutt Steele Gallery
Attn: Leanne Gilbertson
1500 University Dr
Billings, MT 59101
(406) 255-4444
leanne.g@msub.edu
Submission Deadline: December 31, 2015
Notification Date: February 14, 2016
Who: All working 2D and/or 3D artists in the US.
Where: Northcutt Steele Gallery, Montana State University, Billings, Montana
(link here to the floorplans)
What:
- CV/Resume (pdf or word doc)
- Artist's statement (pdf or word doc)
- Digital image list of the works submitted, including the title, dimensions, medium, price or insurance value, and year of creation for each piece.
- Digital image cd compiling up to 12 works.
- Letter of intent/proposal.
- Contact information
- Title, description, concept, & physical dimensions/details.
- Any requests for equipment or special installation requirements.
Northcutt Steele Gallery
Attn: Leanne Gilbertson
1500 University Dr
Billings, MT 59101
(406) 255-4444
leanne.g@msub.edu
Wednesday, February 18, 2015
2015 MSUB ASL Art Auction
There were a few pieces with strong compositional direction, such as the whale watercolor by Bonnie Beth. We made sure it went with the flow of traffic.
There were several pieces with similar subject matter that were broken up throughout the space.
I felt the art was well placed based on impact interest. The black/white and color pieces were intermixed.
The brightly colored pieces had the most visual weight or even some large pieces. The smaller &/or subtly colored pieces had less visual weight. I wouldn't put the most weighted right next to the less weighted unless that was the intent of the artist(s) or unless the weight difference was minimal. I would most likely begin with something intruging or snazzy but just enough to catch the interest. Then my decisions would be based on the space and how many pieces, etc.
There were a few vibrantly colored pieces, one of which began the show, the others were spread throughout the show.
There were several pieces with similar subject matter that were broken up throughout the space.
I felt the art was well placed based on impact interest. The black/white and color pieces were intermixed.
The brightly colored pieces had the most visual weight or even some large pieces. The smaller &/or subtly colored pieces had less visual weight. I wouldn't put the most weighted right next to the less weighted unless that was the intent of the artist(s) or unless the weight difference was minimal. I would most likely begin with something intruging or snazzy but just enough to catch the interest. Then my decisions would be based on the space and how many pieces, etc.
There were a few vibrantly colored pieces, one of which began the show, the others were spread throughout the show.
Sunday, February 1, 2015
Vanessa German Bitter Root Exhibit
Functional Considerations:
There isn't a way to change the traffic flow through the doorway but the traffic flow was considered in the layout of sculptures on their pedestals. People were encouraged to walk around sculptures by having pedestals away from the walls, allowing a walk way between wall and pedestal, or by positioning sculpture in the middle.
Exhibition materials are not really durable in terms of, if they fell over something could easily break. Otherwise I don't know what this question is asking.
Few items were hung but the ones that were, were at appropriate heights. I think the only worrisome aspect was sculptures hanging over edge of pedestals. But there was ample space for anyone to move around said pedestal without needing to bump said sculpture. I believe a disabled person could experience most of the exhibit. The only issue would be the width of their wheelchair if they require one.
Yes the typography was easy to read.
Formal Considerations:
From what I recall, the font was fine. I don't know what else to say regarding this topic.
The similar colors of each piece provided visual unity throughout exhibit.
This exhibit had an energy do to its content that is consistent throughout the exhibit. I don't see any levels to it.
I do see a visual style that I think is traditional for a higher art, therefore bringing the art to the same level, regardless of what the art is considered anywhere else.
Conceptual Considerations:
Embrace your history, embrace diversity.
I think you could walk into the exhibit and go wherever but there was cues to take a certain path.
I feel as though the path has more to do with how the room is shaped and that one might miss a piece because they take a different route. I don't know how to fix this other than do what you can to make a route each time based on the type of work. When we have had 2D work, it is easier to create a specific path. I would try putting 3D in the middle in a line to allow people to view pieces on one side going to the back wall and then they can see the backside on the way out. This may be totally frowned upon according to normal practices, I don't know.
Visitor Observations:
The exhibit is talking about a history of racism, which may not seem as relevant today to some, particularly a young white Montanan. I do think the images are striking and could bring up emotion due to this aspect, which may intrigue many people regardless of race.
I think this exhibit would draw more people over 25 because these people may have lived during these times of racism, or these people just have more life experience to bring to the table.
I didn't see anything set up as a means to gain feedback from the visitors, other than a guest book.
I would change the height of the ceiling because this can change how big the space feels and I hate how the room feels like a cave where the art is hidden.
There isn't a way to change the traffic flow through the doorway but the traffic flow was considered in the layout of sculptures on their pedestals. People were encouraged to walk around sculptures by having pedestals away from the walls, allowing a walk way between wall and pedestal, or by positioning sculpture in the middle.
Exhibition materials are not really durable in terms of, if they fell over something could easily break. Otherwise I don't know what this question is asking.
Few items were hung but the ones that were, were at appropriate heights. I think the only worrisome aspect was sculptures hanging over edge of pedestals. But there was ample space for anyone to move around said pedestal without needing to bump said sculpture. I believe a disabled person could experience most of the exhibit. The only issue would be the width of their wheelchair if they require one.
Yes the typography was easy to read.
Formal Considerations:
From what I recall, the font was fine. I don't know what else to say regarding this topic.
The similar colors of each piece provided visual unity throughout exhibit.
This exhibit had an energy do to its content that is consistent throughout the exhibit. I don't see any levels to it.
I do see a visual style that I think is traditional for a higher art, therefore bringing the art to the same level, regardless of what the art is considered anywhere else.
Conceptual Considerations:
Embrace your history, embrace diversity.
I think you could walk into the exhibit and go wherever but there was cues to take a certain path.
I feel as though the path has more to do with how the room is shaped and that one might miss a piece because they take a different route. I don't know how to fix this other than do what you can to make a route each time based on the type of work. When we have had 2D work, it is easier to create a specific path. I would try putting 3D in the middle in a line to allow people to view pieces on one side going to the back wall and then they can see the backside on the way out. This may be totally frowned upon according to normal practices, I don't know.
Visitor Observations:
The exhibit is talking about a history of racism, which may not seem as relevant today to some, particularly a young white Montanan. I do think the images are striking and could bring up emotion due to this aspect, which may intrigue many people regardless of race.
I think this exhibit would draw more people over 25 because these people may have lived during these times of racism, or these people just have more life experience to bring to the table.
I didn't see anything set up as a means to gain feedback from the visitors, other than a guest book.
I would change the height of the ceiling because this can change how big the space feels and I hate how the room feels like a cave where the art is hidden.
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