1.) I am most proud of actually a lot of things in my senior project. I feel that having helped curate a show at a museum, having a piece in it, having my photography put into books/ads, and curating a school show has been a successful senior career. I really am happy with the product of my work. (:
2.)
a.) AE
b.) P
3.) My mentorship and basically anything that had to do with people in my senior project went really amazingly. I was able to use my people skills and network my way into better jobs at the museum.
4.) I would have probably changed my entire topic and focused on something that was more interesting in the film industry. It would have been more beneficial for me to have made connections in the industry where I plan to work rather than have to focus on that AND art curating.
5.) In my future endeavors, I think the whole practice of networking has helped me in the future. Also, being able to say I am published coming straight out of high school is pretty great. I think just being able to be more knowledgeable in this art industry will help me somehow whilst I am off gallivanting with the hoity-toity directors of Hollywood and San Francisco.(:
Monday, June 3, 2013
Monday, May 20, 2013
Blog #25: Mentorship
Literal:
Mentorship Log
Angie Reyes - (909) 499-8664
Nicole Frazer - (909) 706-1085
Susan Reed - (626) 380-5785
Interpretive: (What is the most important thing you have gained from this experience. Why?)
The most important thing that I believe I have gained from this entire experience is the knowledge of how every single aspect of the museum works. I have been able to work every side of the museum since I have been here. From loading objects, to cataloging and storing the art pieces. I have seen the spread sheets that are used to identify specific art pieces, taken the pictures needed for the spreadsheet, filled out the forms needed to get rights to specific art, etc. etc. I have experienced the manual labor, the computer labor, the photography and curatorial labor, and many other types. With this experience I have gotten to have a full understanding of what goes into maintaining an institution like a museum. For that, I am forever grateful. Without my mentorship, I wouldn't know half of the hidden gems of knowledge that I have found on the way. It has truly opened doors for me, and allowed me to see more into the way the art world honestly is.
Applied: (How has what you have done helped you answer your EQ? Please explain.)
Having gone through so much work and discovery at my internship, I was able to figure out my answers very easily. In this line of work, I realized three things: My coworkers were crazy, A museum is hard work to keep up to date, and that Customer bonds are the most important things to a museum. I learned this answer through spending time and observing what my coworkers did for the customers. Recognizing names, giving tours, hosting talks and having schools come to visit. It was honestly the most humbling thing seeing so many people from all walks of life come together for the sake of education. If it weren't for this mentorship, I would have never known how awesome it is to be offered a piece of art from a girl scout as you helped her slave over it for weeks. I would have never experienced the tedium of everyday work and how after a long while, seeing it come together into a whole culminated show. Being able to say: I helped make this happen, was the best experience I could have ever asked for, and aside from helping me answer my EQ, it helped me to become a more proactive person in the end. I feel that this portion of the senior project helped me grow as a person the most, and become a more active citizen within the community now.
Mentorship Log
Angie Reyes - (909) 499-8664
Nicole Frazer - (909) 706-1085
Susan Reed - (626) 380-5785
Interpretive: (What is the most important thing you have gained from this experience. Why?)
The most important thing that I believe I have gained from this entire experience is the knowledge of how every single aspect of the museum works. I have been able to work every side of the museum since I have been here. From loading objects, to cataloging and storing the art pieces. I have seen the spread sheets that are used to identify specific art pieces, taken the pictures needed for the spreadsheet, filled out the forms needed to get rights to specific art, etc. etc. I have experienced the manual labor, the computer labor, the photography and curatorial labor, and many other types. With this experience I have gotten to have a full understanding of what goes into maintaining an institution like a museum. For that, I am forever grateful. Without my mentorship, I wouldn't know half of the hidden gems of knowledge that I have found on the way. It has truly opened doors for me, and allowed me to see more into the way the art world honestly is.
Applied: (How has what you have done helped you answer your EQ? Please explain.)
Having gone through so much work and discovery at my internship, I was able to figure out my answers very easily. In this line of work, I realized three things: My coworkers were crazy, A museum is hard work to keep up to date, and that Customer bonds are the most important things to a museum. I learned this answer through spending time and observing what my coworkers did for the customers. Recognizing names, giving tours, hosting talks and having schools come to visit. It was honestly the most humbling thing seeing so many people from all walks of life come together for the sake of education. If it weren't for this mentorship, I would have never known how awesome it is to be offered a piece of art from a girl scout as you helped her slave over it for weeks. I would have never experienced the tedium of everyday work and how after a long while, seeing it come together into a whole culminated show. Being able to say: I helped make this happen, was the best experience I could have ever asked for, and aside from helping me answer my EQ, it helped me to become a more proactive person in the end. I feel that this portion of the senior project helped me grow as a person the most, and become a more active citizen within the community now.
Monday, May 13, 2013
Blog 24: Exit Interview Questions
1.) What is your essential question? What is the best answer to your question and why?
My essential question is: " What is more important in curating a successful art show?" My best answer turned out to be: "Take into account how the customer views the art show as a whole."As an art museum, you are expected to present the art in a meaningful and aesthetically pleasing way. The best way to be able to know if your job was successful, is to watch the reaction of the audience. By viewing, I mean that they are able to understand the concepts and main theme.
2.) What process did you take to arrive at your answer?
To answer a question like this specifically, the process that I went through was one of self discovery. When I started off at AMOCA, I believed that museums of art were a much higher functioning entity. However, when I began to see the inner workings, I realized how much the museum focuses on the everyday people in hopes of drawing them in. For some reason I had a crazy idea that there was a committee of higher-ups that museums were trying to please. I was sorely mistaken after watching my first show turn (German Mettlach Ware). I witnessed the museum doing so many community outreach projects and collaborations, without one suit in sight. I feel that I have learned so much from being able to see both sides of the museum world. I have been able to experience it as a customer from my senior project, and also was able to experience the actual work that comes from behind the scenes. So with the culminated view of what I would see through the eyes of a customer, and as an art curator, I believed that this would be the best possible answer.
3.) What problems did you face? How did you resolve them?
One of the biggest problems that I faced throughout my entire senior project was the fact that when I had gotten my internship, I was given completely unrelated tasks. I decided that rather than complain about it though, I would just stick it out. After all, they were gracious enough to offer me an internship, who am I to complain and become picky about the extra work that they were providing? So I believed in that motto for several months, and finally branched off from photography. They had me in the photography lab for the longest time, but then realized that I had other talents. As I got to know them gradually, I started to explain my senior project more in depth with them and gave them a real explanation as to why I was there. Immediately after that, they started giving more important jobs once I had gained the trust of the employees. Now I am happy as to where I am within AMOCA, and I feel that I wouldn't have gotten there were it not for the hard work I had done beforehand trying to gain the trust and respect of the employees first.
4.) What were the two most important sources you used to answer your essential question and why?
There were two important sources that I utilized the most whilst doing my senior project. The first one was a book called: "Gallery Management" by Rebeca Zelermyer. This book was extremely influential by altering the way I approached my question. When I was originally approaching it, I was thinking in terms of, what would mean the best possible outcome for the museum? But with this book, I learned that it is much more important to satisfy the customer rather than the needs of the museum. After all, the museum is sustained by these people. The customers are the life force of an institution like this. If the public interest in art were to decrease suddenly, then there would be no grounds for these institutions to stand upon. The entire business would be forced to crumble. So, pleasing the people or at least intriguing them to the point of wanting to come is the biggest prerogative.
The second source which I found immensely useful was the interview that I had with my fourth person, Quinton P. Bemiller. He is the curator of the Cal Poly museum, and I was lucky enough to catch him at the right time. With his wonderful advice, I was able to draw the conclusion even further that the customer base is something that I should really pay attention to. For example, most of his main points were about finding the right location for your museum, and then making sure the people would show up. It was all about population and showing towards a specific demographic for him as well. I had the same conclusions from my other interviewees as well.
5.) What is your product and why?
My product is the ability to determine what is a quality museum setup and not. When I first would go to a museum, my eye would be drawn to what the curator wanted me to see. It was manipulated, and I never truly saw the entire exhibit. Now, after having so much experience about these kinds of things down to what type of paint you should use when repainting a pedestal, I have found that whenever I attend a museum now, I look at what is behind the scenes. What kind of lighting was used? Is their pedestal in place? Is the art in the optimum position? What angle would have been better? Now instead of seeing that museum as a place to learn, I also find it fun to pick apart the exhibitions. To see the tiny details that others would miss, all the way down to how they tucked their chords away for that one lcd display. This project has opened my eyes to a whole new dimension of the art world and museums in general. That is what my product is.
2.) What process did you take to arrive at your answer?
To answer a question like this specifically, the process that I went through was one of self discovery. When I started off at AMOCA, I believed that museums of art were a much higher functioning entity. However, when I began to see the inner workings, I realized how much the museum focuses on the everyday people in hopes of drawing them in. For some reason I had a crazy idea that there was a committee of higher-ups that museums were trying to please. I was sorely mistaken after watching my first show turn (German Mettlach Ware). I witnessed the museum doing so many community outreach projects and collaborations, without one suit in sight. I feel that I have learned so much from being able to see both sides of the museum world. I have been able to experience it as a customer from my senior project, and also was able to experience the actual work that comes from behind the scenes. So with the culminated view of what I would see through the eyes of a customer, and as an art curator, I believed that this would be the best possible answer.
3.) What problems did you face? How did you resolve them?
One of the biggest problems that I faced throughout my entire senior project was the fact that when I had gotten my internship, I was given completely unrelated tasks. I decided that rather than complain about it though, I would just stick it out. After all, they were gracious enough to offer me an internship, who am I to complain and become picky about the extra work that they were providing? So I believed in that motto for several months, and finally branched off from photography. They had me in the photography lab for the longest time, but then realized that I had other talents. As I got to know them gradually, I started to explain my senior project more in depth with them and gave them a real explanation as to why I was there. Immediately after that, they started giving more important jobs once I had gained the trust of the employees. Now I am happy as to where I am within AMOCA, and I feel that I wouldn't have gotten there were it not for the hard work I had done beforehand trying to gain the trust and respect of the employees first.
4.) What were the two most important sources you used to answer your essential question and why?
There were two important sources that I utilized the most whilst doing my senior project. The first one was a book called: "Gallery Management" by Rebeca Zelermyer. This book was extremely influential by altering the way I approached my question. When I was originally approaching it, I was thinking in terms of, what would mean the best possible outcome for the museum? But with this book, I learned that it is much more important to satisfy the customer rather than the needs of the museum. After all, the museum is sustained by these people. The customers are the life force of an institution like this. If the public interest in art were to decrease suddenly, then there would be no grounds for these institutions to stand upon. The entire business would be forced to crumble. So, pleasing the people or at least intriguing them to the point of wanting to come is the biggest prerogative.
The second source which I found immensely useful was the interview that I had with my fourth person, Quinton P. Bemiller. He is the curator of the Cal Poly museum, and I was lucky enough to catch him at the right time. With his wonderful advice, I was able to draw the conclusion even further that the customer base is something that I should really pay attention to. For example, most of his main points were about finding the right location for your museum, and then making sure the people would show up. It was all about population and showing towards a specific demographic for him as well. I had the same conclusions from my other interviewees as well.
5.) What is your product and why?
My product is the ability to determine what is a quality museum setup and not. When I first would go to a museum, my eye would be drawn to what the curator wanted me to see. It was manipulated, and I never truly saw the entire exhibit. Now, after having so much experience about these kinds of things down to what type of paint you should use when repainting a pedestal, I have found that whenever I attend a museum now, I look at what is behind the scenes. What kind of lighting was used? Is their pedestal in place? Is the art in the optimum position? What angle would have been better? Now instead of seeing that museum as a place to learn, I also find it fun to pick apart the exhibitions. To see the tiny details that others would miss, all the way down to how they tucked their chords away for that one lcd display. This project has opened my eyes to a whole new dimension of the art world and museums in general. That is what my product is.
Tuesday, May 7, 2013
Blog 23: 2014 Interview
1. Who did you interview and what house are they in?
Emmely Avila, SOUTH
HOUSE
2. What ideas do you have for your senior project and why?
2. What ideas do you have for your senior project and why?
Either photography or
pediatrics because I find them very interesting. Possibly Pediatrics because I
have a locked in mentorship for them.
3. What do you plan to do for your summer 10 hour mentorship experience?
Well, my brother in
law works at a hospital so he said I have a guaranteed mentorship there.
4. What do you hope to see or expect to see in watching the 2013 2-hour presentations?
4. What do you hope to see or expect to see in watching the 2013 2-hour presentations?
I really am excited
to see how the presentations are set up and how the time is used up.
5. What questions do you have that I can answer about senior year or senior project (or what additional information did you tell them about senior year or senior project)?
5. What questions do you have that I can answer about senior year or senior project (or what additional information did you tell them about senior year or senior project)?
Nope.
- Note
the question and what you told them.
Friday, May 3, 2013
Monday, April 29, 2013
Blog 21: Independent Component 2
LITERAL:
a) I, Ivy Jordan, affirm that I completed my independent component which represents 30 hours of work.
b) My source was the same as always: My mentorship at AMOCA under the supervision of Nicole Frazier and Susan Reed.
c) HERE!! (from 2/2 - 4/28)
d) I completed helping my supervisors carry out the everyday tasks needed in order to keep the museum in running condition. I observed the activities that AMOCA does in order to reach out towards the community, as well as helped with the installation and progress of their newest show in their artist studio gallery. It will be a high school show called "THE ART OF FOOD" . It was a really great experience getting to be a part of it.
INTERPRETIVE:
This is one of the pieces that will be printed and added into the final tapestry, I know it isn't very impressive, but the whole process of measuring and doing math to find the right proportions for it in accordance for the tapestry dimensions were a bit more complex than it seems at first glance. It has taken several weeks (meaning about 4 days considering I only come in once a week) for me to even conceptualize this monster.
This is the program which sponsored the art show that I am getting the privilege to work with.
a) I, Ivy Jordan, affirm that I completed my independent component which represents 30 hours of work.
b) My source was the same as always: My mentorship at AMOCA under the supervision of Nicole Frazier and Susan Reed.
c) HERE!! (from 2/2 - 4/28)
d) I completed helping my supervisors carry out the everyday tasks needed in order to keep the museum in running condition. I observed the activities that AMOCA does in order to reach out towards the community, as well as helped with the installation and progress of their newest show in their artist studio gallery. It will be a high school show called "THE ART OF FOOD" . It was a really great experience getting to be a part of it.
INTERPRETIVE:
These are what the finished glazed plates look like. Well, finished as in the end of my job. However, they need to go into the kiln and get fired then they will come out extremely glossy and finished looking. There were hundreds of racks of plates just like this. Around 800 of them to be a little bit more exact.
This is the progress that we are making with installing the High Schooler's work. All of these walls and blocks had to be brought in from the backrooms of AMOCA which required a ton of heavy lifting. Also, we painted several pedestals black for a more interesting contrast to enhance the visual appeal of each piece.
APPLIED:
I would have to say that the thing that helped me most in my discovery for what the most important factor in curating an art show is would probably be seeing the entire process and playing a somewhat vital role in it. It was interesting seeing the process and thought that goes into making an amateur show like this one, and in all honesty it seems like a lot of guess work. I wonder if it is somewhat the same for larger museums..
Sunday, March 24, 2013
Wednesday, March 6, 2013
Blog 19: Senior Project and ESLRs
1. What ESLR have you excelled in most in your senior project?
Probably the most effective learner. I have been slowly learning about all aspects of the museum world and have grown an appreciation for the art. During my mentorship I have been switched around a lot with jobs so I have been able to experience all elements.
2. Please explain why you think you have
excelled in this ESLR.
I believe that I have excelled in this ESLR because I have been able to gain a whole new set of skills with this experience, and that is thewhole point of learning.
3. Provide evidence from your senior project to support your claim.
Probably the most effective learner. I have been slowly learning about all aspects of the museum world and have grown an appreciation for the art. During my mentorship I have been switched around a lot with jobs so I have been able to experience all elements.
2. Please explain why you think you have
excelled in this ESLR.
I believe that I have excelled in this ESLR because I have been able to gain a whole new set of skills with this experience, and that is thewhole point of learning.
3. Provide evidence from your senior project to support your claim.
The other day I was taught how to glaze plates for the kiln.
I have learned about the placement and displaying issues with art pieces.
f
Wednesday, February 27, 2013
Blog 18: Two Hour Meeting Answer #3
1. What is most important in curating an art show?
2. My third answer is: "Knowing the demographics that you are advertising to."
3. a) You have to be sure not to offend anyone.
b) Different cultures are attracted to different things.
c) There could be an overabundance of one type of ethnicity and it could help you expand your range towards a wider audience knowing that.
4. Strom, Stephanie. "To Attract a Crowd, Scour Your Deographics." Nytimes.com. New York Times, 14 Mar. 2010. Web. 10 Jan. 2013.
5. I plan to study more on location choosing for the best audience flow.
2. My third answer is: "Knowing the demographics that you are advertising to."
3. a) You have to be sure not to offend anyone.
b) Different cultures are attracted to different things.
c) There could be an overabundance of one type of ethnicity and it could help you expand your range towards a wider audience knowing that.
4. Strom, Stephanie. "To Attract a Crowd, Scour Your Deographics." Nytimes.com. New York Times, 14 Mar. 2010. Web. 10 Jan. 2013.
5. I plan to study more on location choosing for the best audience flow.
Thursday, February 21, 2013
Blog 17: Fourth Interview Questions
1. What is most important in curating an art show?
2. How do you know which is the best way to showcase an aesthetic?
3. What is the most important thing you learned from your education about art show curating?
4. How do you think the location helps an art show progress?
5. Is there a specific location in the entire world that you think would be the best?
6. What type of art would you choose in the art show and why?
7. What are some of the factors you look at when making at art show?
8. Do you see location as somewhat important or very important and why?
9. Whom is the most inspirational curator to you? What did they do right?
10. Do you have any special tricks you use to display hard to show items
11. What is the hardest piece you've shown?
12. What is the attendance at your museum?
13. What has your museum done in order to know the demographics that attendm
14. What do you to to appeal to a wider audience?
15. What have your past advertising events been and what was successful about it?
16. What are some of the most vital connections that any art curator must have?
17. What are the best locations to have an art gallery?
18. Why is the location so important?
19. How did you make the connections that you did?
20. Is there any advice you could give to anyone new trying to get into the business?
2. How do you know which is the best way to showcase an aesthetic?
3. What is the most important thing you learned from your education about art show curating?
4. How do you think the location helps an art show progress?
5. Is there a specific location in the entire world that you think would be the best?
6. What type of art would you choose in the art show and why?
7. What are some of the factors you look at when making at art show?
8. Do you see location as somewhat important or very important and why?
9. Whom is the most inspirational curator to you? What did they do right?
10. Do you have any special tricks you use to display hard to show items
11. What is the hardest piece you've shown?
12. What is the attendance at your museum?
13. What has your museum done in order to know the demographics that attendm
14. What do you to to appeal to a wider audience?
15. What have your past advertising events been and what was successful about it?
16. What are some of the most vital connections that any art curator must have?
17. What are the best locations to have an art gallery?
18. Why is the location so important?
19. How did you make the connections that you did?
20. Is there any advice you could give to anyone new trying to get into the business?
Wednesday, February 6, 2013
Blog 16: Two Hour Meeting Answer #2
1.) What is most important in curating an art show?
2.) My second answer for my essential question is knowing which demographic you are advertising to.
3.) Three details or facts:
- an art museum relies upon the visitors participation,
- you need to know your demographic in order to put on exhibits that cater to them,
- gives you insight to the location you are in too.
4.) This source.
<Bob, Duggan. "Big Think." Does the Art World Have a Demographics Problem? Big Think, 20 Nov. 2012. Web. 05 Jan. 2013.>
5.) I plan to continue my study of answer 2 by doing extensive research on the statistics of demographics within the art world, and how you can play more toward your demographic for a happier result.
Sunday, February 3, 2013
Blog 15: Independent Component 2 Approval
CONTENT:
2.) My project will meet the 30 hour minimum thanks to my diligent work at AMOCA, and any extra hours will be recorded with my work on the I-fest art show.
3.) My independent study component relates to my working EQ (What is most important in curating an art show) because with this component I will get the chance to actually curate Ipoly's own art show. I will use the techniques I have learned in order to make this the best ever Ipoly art event ever. (:
Saturday, February 2, 2013
Friday, February 1, 2013
Blog 14: Independant Component 1
LITERAL:
a) I, Ivy Jordan, affirm that I completed my independent component which represents 30 hours of work.
b) Susan Reed
[sreed@amoca.org]
c) Spreadsheet
d) I have completed helping AMOCA photograph their advertisements for an entire show. This has been a longstanding amount of work that had to be done on a weekly basis, but basically with my efforts attributed to the whole, I can successfully say that I helped significantly with the progression of the next show.
INTERPRETIVE:
a) In my experiences, I have been keeping up with updating my extra blogs as the year goes on to show what goes on during my mentorship. However, I do not save a lot of the photos, but the ones that are up are going to be attributed to the AMOCA website that is under construction right now. I have been taking a lot of the product photos etc.
^^
The newest show.(:
APPLIED:
a) This component (simply volunteering) helped me to understand my topic better because now I have seen what goes into make a show twice all of the way. Speaking and inteacting with the staff really helped me to gain a better understanding of what actually goes on, as well as just watching from the sidelines. Who would have known that making veggie platters and photographing tiny photos would be such a big deal? They actually aren't but they are a big essential for making the bigger things look nice. I learned from Susan how you can market yourself out there (or the museum). She goes to seminars and festivals for art, basically anything she can do to advertise AMOCA better. I learned that in order to have a good turnout and therefore a good show, you need to get out into the world and make sure they know about your event. Its a lot about advertising.
Friday, January 18, 2013
Sunday, January 13, 2013
Blog 12: Third Interview Questions
1. What is most important in curating an art show?
2. What are some of the struggles you face when you put an art show together?
3. What is the communication with the artist like?
4. How do you normally get someone to sponsor or contribute to the museum?
5. How do you personally start withbcreating an art show?
6. How do you normally come across different concepts?
7. If circumstances allowed it, what is one big change you would enact for the museum?
8. How do you normally handle customers or artists whom are very high strung?
9. What advice would you give to someone going into the field?
10. What do you think is the most important role within a functional museum?
2. What are some of the struggles you face when you put an art show together?
3. What is the communication with the artist like?
4. How do you normally get someone to sponsor or contribute to the museum?
5. How do you personally start withbcreating an art show?
6. How do you normally come across different concepts?
7. If circumstances allowed it, what is one big change you would enact for the museum?
8. How do you normally handle customers or artists whom are very high strung?
9. What advice would you give to someone going into the field?
10. What do you think is the most important role within a functional museum?
Friday, January 11, 2013
Blog 11: Mentorship 10 Hours Check
1.) I am doing my mentorship at the American Museum of Ceramic Arts.
2.) My contact is Susan Reed. She oversees the advertisement of AMOCA and their day to day activities.
3.) I have a total of 60 Hours and 30 Minutes recorded.
4.) The amount of service that I have done was and is very helpful to the betterment of my project. It helped me to understand how many small jobs go into making a museum run, from seeing how the organizational structure for each piece that is cataloged is made, to applying for grants and using connections and networking like its your best friend. I have seen a lot of things happen in this tiny museum, and it has truly been an exciting experience. I hope to continue learning from my time of being an intern there.
2.) My contact is Susan Reed. She oversees the advertisement of AMOCA and their day to day activities.
3.) I have a total of 60 Hours and 30 Minutes recorded.
4.) The amount of service that I have done was and is very helpful to the betterment of my project. It helped me to understand how many small jobs go into making a museum run, from seeing how the organizational structure for each piece that is cataloged is made, to applying for grants and using connections and networking like its your best friend. I have seen a lot of things happen in this tiny museum, and it has truly been an exciting experience. I hope to continue learning from my time of being an intern there.
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