Thoughts on my work.

[brianmc]

I'd love to get some feedback on the work I'm doing from people who don't know me and have no reason to be nice. My current work is a narrative series filled with a sort of broad symbolism called "The Triumph of the Big Machine." It was born out of an early interest in Futurism, but not necessarily an embrace of those ideals. I'd like to study printmaking and eventually see this work maybe becoming three dimensional in some form of toys that could be organized into images or maybe something 3D and computer based as well as some 2D vector graphics. Right now I'm sort of just developing my vocabulary through painting. I see this series going for a long time across a broad spectrum of media and eventually being organized into a more sequential epic, that could be a ballet or film, although it isn't really being created in order as of right now.

Anyway, I'd love some thoughts on the work, whether technical, or conceptual...and I'd love to know whether or not anyone thinks I have any business applying to grad school.

www.flickr.com/brianmcart

[TheStranger]

You didn't apply last year? I feel like I've seen this from the forums.

Your work is illustrative and I would not use the term 'Futurism' when explaining your work because I usually associate movement or speed when I think of Futurism-- and your work has none of that. What grad schools are you looking into? And why would you want to go to grad school? What artists influence you? (Dead and contemporary). How does your art fit in with today's art scene?

[TheStranger]

Page 28 of MICA's school magazine, JUXTApositions, in this PDF. Justin Schmidt's Soda Pop at Sea looks very similar to your style of art. So perhaps, MICA could be a good school choice for yourself.

[TheStranger]

You got your undergrad there? I personally didn't get a good vibe from looking into MICA. They seem so much more into selling MFA's instead of awarding MFA's. It's the same uneasy feeling I get from OTIS and Art Center, though I am sure they have good faculty. I talked to a lady finishing her MFA at Art Center and she hated it and will be over 100K in debt... frankly I am a bit worried for the lady. But it was interesting that they accepted her, rather fast, knowing her style of work yet are just trying to change her style while juicing her with debt. MICA gives out way too many e-mails and letters like spam for potential applicants and it makes me feel like they are more of a business than a school. I know schools are both, but I feel as if I can sense how schools tip the balance one way or the other and it shows something about their program in my eyes.

[michaelwebster]

I feel the same way about SAIC trying to sell itself, but I consciously chose that environment as a contrast to ECU because I wanted to be shaped by different environments.

What is funny is that at SAIC I haven't seen much of any pressure for people to change their approach to art-making the way I have heard about at smaller schools. The mantra of many programs is to break down the student to build them back up, maybe similar to what you thought about MICA, but SAIC has not been that way at all.

[R. Mutt]

I feel the same way about SAIC trying to sell itself, but I consciously chose that environment as a contrast to ECU because I wanted to be shaped by different environments.

What is funny is that at SAIC I haven't seen much of any pressure for people to change their approach to art-making the way I have heard about at smaller schools. The mantra of many programs is to break down the student to build them back up, maybe similar to what you thought about MICA, but SAIC has not been that way at all.

my professor said SAIC has like a 76% acceptance rate

[TheStranger]

I always wanted to be an abstract painter, but I just can't do it. I always end up trying to hide a story in there, so I quit resisting and just started making narrative work.

I was similar in that I liked having a narrative but now I am way more conspicuous with the narrative even though for me it is definitely there. The story is to be found, not read, and I think this makes for more powerful interpretations. Everyone has their own reasons for making art...many 'top' schools may not like the style of art you like. What will be important is your ability to rationalize your art in the context of art history and the contemporary art scene. If you can't, they will see you as a fan of a genre that they see no future in. If a 50 year old mom wants to paint land landscapes and flowers, she can...but she should know many grad schools are not for her.

They always say painting is dead...it is so dumb. When opera came out in the 1600's, they said painting was dead. When the camera came out, painting was dead. Even Duchamp said art itself was dead, yet he made art! And ironically he released art AFTER his death to be viewed. To me, "why make art" is the same kind of question as "why live at all?" I think there's enough existential artists to be able to explain their art. Those complaining are all sissies. Know your art history and use your personal voice....that is what it is all about to me.

[michaelwebster]

my professor said SAIC has like a 76% acceptance rate

its only at 23% because of all the non-studio departments. The studio departments are about 8% average. I know sculpture is 7-8%.

Edited November 1, 2011 by michaelwebster

[ol'spice]

I'd love to get some feedback on the work I'm doing from people who don't know me and have no reason to be nice. My current work is a narrative series filled with a sort of broad symbolism called "The Triumph of the Big Machine." It was born out of an early interest in Futurism, but not necessarily an embrace of those ideals. I'd like to study printmaking and eventually see this work maybe becoming three dimensional in some form of toys that could be organized into images or maybe something 3D and computer based as well as some 2D vector graphics. Right now I'm sort of just developing my vocabulary through painting. I see this series going for a long time across a broad spectrum of media and eventually being organized into a more sequential epic, that could be a ballet or film, although it isn't really being created in order as of right now.

Anyway, I'd love some thoughts on the work, whether technical, or conceptual...and I'd love to know whether or not anyone thinks I have any business applying to grad school.

www.flickr.com/brianmcart

Is this the work you are submitting as your undergrad portfolio? My impression is that you are trying a bit too hard to make it all seem consistent and to lead into this epic thing (theater, movie, etc) and I'm not telling you to stop dreaming big, but I think you should focus on showing the best work you did during your undergrad school.

Even if the pieces aren't very consistent from one to the next. That's the advice I had from one of my professors. I'm not sure which dept. you are applying to... If you are probing painting you should have better examples of paintings (even if they have nothing to do with this narrative thing you are trying to push). if you are expecting to be accepted in an MFA focusing on painting, that is.

I first saw some Philip Guston influence (his late work) and then after looking at the other images, it looks graphic (graphic novel, graphic) and too illustrative (for applying to a painting program)... If you are young, then make sure to not rush applying to an MFA right now, you have your life ahead of you and you should be able to spend more time developing your portfolio so you know you'll be a good candidate when the time comes. Lastly, I think your theme has potential, but I think you need to become just as preoccupied with the medium of painting as you are with the narrative and right now, it's lacking on "painterly-ness"...

[michaelwebster]

Lastly, I think your theme has potential, but I think you need to become just as preoccupied with the medium of painting as you are with the narrative and right now, it's lacking on "painterly-ness"...

I think that is complete BS. If he wants to look like 98% of the paintings coming out of MFA programs right now he will make it look "painterly-ness," but clearly that is not his intention. If you look at the schools brianmc is looking into, they are not centered on "painterly-ness" painting. There is no "too illustrative" standard in any MFA program I am aware of. While most painting programs don't have an interest in graphic novelists or illustrators, he is doing it consciously, not from a naive location, so this changes the way to read his work.

brianmc, I do not think you should only show work from undergrad or throw out the narrative you have been developing. I think as long as the faculty know your purposefully making work in this style then they will be able to read your work.