Blog 22: Final 3-Column Chart

FINAL SUBMISSION

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.

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 program which sponsored the art show that I am getting the privilege to work with.

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..

Blog 20: Three Column Chart!

HERE!!!!

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.

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.

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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.

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?

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.