Week 1

Sol Lewitt Video: Lewitt is a conceptual artist, meaning for many of his pieces all of the planning and ideas are flushed out before the construction of a final piece even begins. He uses instruction-like-blueprints for his final pieces that other artists refer to to construct the piece. Notice my use of the term construct rather than create. These artists simply use his pre-determined instruction, or his ideas, to finish the work. Thus, enforcing the idea that Sol’s ideas are the machine that makes the work. In terms of the artist’s hands in the final piece, I think that the hand is seen more as a tool. The hand is much like a hammer hammering a nail into a board indicated by, for example, instructions for an IKEA bed frame. The hand does not lend any creative element in the piece.

Yoko Ono Video: In the video Ono is reading descriptions of different “paintings” one can make. In terms of drawing boundaries around the artwork, I think anything that creates a dialogue about the notions of what is art or what are the boundaries surrounding a work of art is hard to put boundaries around at all. I think that the “boundaries” we put around art are constantly changing and that change is how art and what we consider art evolves throughout history. Ono challenges the viewer’s stereotypical notions of a “painting”. For instance, in many of her scenarios the canvas itself is the painting (by being reworked, stepped on, hung in windows, being punched through) rather than painted on. In terms of me liking the work, I think what is like most and respect about it is the dialogue and discussion it can produce rather than the work itself. I feel like when an artist can accomplish that it says a lot more about the impact the work can have on society than something aesthetically pleasing.

Bruce Nauman Video: The two works I chose of Nauman are: “Bouncing in the Corner No 1”, 1968 and “Coffee Spilled Because the Cup Was Too Hot”, 1966-67. In the first piece Nauman utilizes himself for the work by taking an everyday action (gently falling against a wall and getting back up again) and repeats it over and over again. The repetition seems to take the meaning out of the action itself, much like repeating a word over and over makes it loose its meaning. The second work shows exactly what the tittle describes, a spilt cup of coffee. Nauman frames an instant of everyday life this framing forces us to look at this action in a different way emotionally, in my opinion. If one where do spill their hot coffee: one, it probably hurt and two, its probably would make someone angry or at the least, irritated. However, when I look at Nauman’s piece I do not feel those emotions, I did not spill coffee, I am simply looking at spilt coffee.

Week 1 Activity: Make a Kilometre

I happened to stumble upon my kilometre for this assignment, originally I had planned to go on a kilometre long walk and collect things from my walk as evidence because I enjoy going on walks as they help me to unwind. However, the other day I was visiting a friend and they were excited to show me this new video game they had started to play. It is a Japanese game called “Katamari”. The basic goal, as far as I understood, was to roll a ball around the different rooms and places set up for each level. There are a bunch things strewn about and as you roll through the game you pick them up to create a bigger and bigger ball, much like making a snowman. And at the end of each level you ball of stuff is transformed into a star. As I watched my friend play I noticed that is kept track of how “big” your ball gets. I asked my friend if he had ever gotten it to be a kilometre long and he said depending on the level you could get them to be really big. So, long story short I rolled up a virtual ball of virtual stuff to make a virtual kilometre. Due to the quality of my camera it is a little hard to tell but there is a flower in the upper left corner that shows the ball is a kilometre long.

Week 2 Activity: 1 Hour

For my one hour activity I decided to stand on one leg. I was inspired by this drinking card game my roommate has. One of the cards has everyone playing stand up on one leg and the first person to put their other leg down drinks. I was actually surprised that some of us could last as long as we did. My roommate and I have gotten to around 15 minutes before with no issues other than getting bored and thus quitting. It made me wonder how long I could actually stand on my leg for. I think, like a few other of my classmates, I put a focus on trying to get into a more meditative state like Marina Abramovic seems to do in her performances. I was pretty good at the beginning then it stated to get a bit rocky. I ended up finding one area of my room to focus on and just lost myself in that. I did not actually make the full hour because my roommate came home while I was doing it and it startled me, but it was an interesting experience nonetheless.

Week 3 Notes:

Lee Walton

“Making Changes” Move an unsuspecting object to a new spot.

“Sitting” Sit in close proximity next to an unsuspecting stranger.

Jon Sasaki

“Ladder Climb” Climb a ladder with nothing to support it but yourself.

“Dead End, Eastern Market, Detroit” Drive to a dead end, only to turn back around.

Lenka Clayton

“The distance I can be from my son” Physically demonstrate the distance in which one can be away from their son

Yunla Berevoski

“Several observations” Give an inanimate object a soothing massage

Week 3 Activity:

“How Baristas Really Feel About Pumpkin Spice Season”

This is a picture of a Pumpkin Cream Cold Brew (AKA the most popular drink at Starbucks right now) that I had thrown into the air. This drink had to be remade right before the end of my shift so I decided to take it home and throw it into the air out of slight frustration. These drinks are notoriously more complex to make then others because of the cold foam and when you’re behind bar during a rush with a line up of these guys its a little tiresome. That being said, I do not wish to deter anyone from ordering one, they’re popular for a reason and many of your friendly neighborhood baristas love them too 🙂 aaand it made a cool picture so I guess they’re not all that bad.

Week 4

Notes:

Studio Visit: Adad Hannah works to capture the “moment of pose”. He states that when having a photo taken humans tend to get into “pose” or a moment of stillness. This is what a lot of Adad’s is reflective of.

Handheld Case Study: Adad recodes and hand in almost contorted positions while holding coloured balls. Although the colours seem to be fun and happy, you can see the hand moving and shaking while being in such a strained position. The videos become almost uncomfortable to watch once I realized this and thought of my own, smaller, hands trying to do this.

Burghers of Vancouver: Adad has dressed people up to resemble a public statue in Vancouver and videotaped them trying to be still. The video cuts to a shot of the original piece as if to compare the two. When I saw this shot I realized who very un-still the performers actually were. It shows that being still is not a simple task and may even be one that is impossible to accomplish.

The Screen: This photo was a little different from the others that I looked at. Composition wise it was very complex. It must have taken several adjustments and camera angles to get it just perfect. When I was looking at it, it really did feel like there was a type of screen in front of these people and they were actually clothed behind it. It felt like the people had no idea how exposed they really where. The idea of the screen invites the viewer to look at the people in an extremely private way.

Social Distance: In terms of formula, most of the subjects were centered in the frame and there were mostly full body shots. I found those wearing masks were a bit eerie to look at. It spoke to how still all of our lives have become during this pandemic.

My Work

Notes: I chose to do a self portrait because I was nervous to ask a stranger and my roommate is unfortunate a very busy person. However, doing a self portrait gave me the opportunity to really think about what I wanted to convey. I have always really loved windows and the way they frame the outside world. It occurred to me that looking out a window was very similar to Adad’s work. When I look out my own the trees are in the same spot, the buildings never shift or move, sometimes there is the odd person or animal, but it stays a relatively “still” composition. The trees are moved slightly by the wind in a similar way that those hands in the Handheld Case Study shake while holding the balls.

Week 6

I really enjoyed this article for this weeks assignment. I jotted down some quotes that caught my attention, found interseting, or related to.

• “my face is my trademark and my main mode of communication”
  • I really related to this, I feel like wearing a mask inhibits strangers to “know” me or “see who I am” from simple/short interactions, compared to before. For example, at work the most important part of our job that is constantly drilled into our heads is making customer connections. To do that, I need to make an effort to “know” the customer and have them “know” me, if only in that small moment. Our faces are representative of our whole beings, like the author says our feet or other parts of our body do not convey who we are. So, at least without a mask on we all see each other as a somebody, but now we are just strangers to one another more than ever before.
• “the face is ground zero of expression”
  • I think I took for granted how much I relied on expression to help me understand what someone is trying to communicate with me. When I pass a stranger on the street they no longer see the small smile under my mask as a silent greeting. I can only hope it reaches my eyes and they are paying enough attention to even catch that.
• “when looking at masked people my brain still feels like its malfunctioning, skipping a sensation, a tenuous connection is reached for and missed”
  • I totally agree with this. It still feels so weird to see people in masks everywhere. It makes me feel like we are all still around one another but so very very separate. Like these other quote have hinted at, without the face I can not “see” the strangers around me. I feel like when our brains subconsciously normally take that quick second to pass judgment on strangers it creates somewhat of a narrative surrounding somebody. But, with the mask concealing that integral part, the face, my brain misses that part. I’m just alone in a sea of strangers.
• “my face, as I age, has become less interesting to men. this is what women mean when they say they feel invisible”
  • although I cannot directly relate with this statement I used it as a jumping point to think about how the pandemic in relation to masks has affected my self image. I feel less noticeable in a mask and by feeling less noticeable I feel less important, easily forgettable. These feeling are obviously not ideal during I time when we are supposed to be distancing ourselves from others. The act of wearing a mask itself has physically affected my face. It cause unmanageable and painful acne for me, which affected my self confidence.

Week 6 Activity: “Serums, Spot Treatments, and Skincare”

For this weeks assignment I decided to focus changing the visual evidence that mask-wearing leave on my face. I do not think I have ever cared about my skin so much and nobody can even see it right now! Its kind of ironic, the mask is what conceals my battle with acne from the outside world but also the same thing that causes it. I wanted to experiment with different funny ways of concealing it or making light of it. My hope was that if I could interact with this unwanted side-effect of mask wearing in a humorous manner I could maybe make it less important to me. *Although I feel very comfortable with everyone in this class and sharing this issue I have been struggling with I do ask that everyone is respectful in their comments :)*

Week 7

Notes:

Janet Cardiff, “Lost in Memory Palace: 40 part Motet”

• took multiple recordings of choirs and had them playing through an oval of speakers, singing a 15th c song
• it was different from conventional music because, as described in the video, it was like “stepping a song” and being surrounded by music, which is something that concerts and headphones cannot do
• it kept interest by being able to walk around an hear the voices from different areas of the oval, which made the piece more complex and gave listeners the ability to listen over and over but hear the different nuances every time
• the way I experienced it was different than in person but I can understand how it would be a very moving experience and I wish I could have experienced the emotion release that others did

Alter Banhof “Video Walk”

• was a video on one walking along to a video of the exact same walk with a voice over of someone directing you around while also hearing all of the noise that had been around that person whilst recording
• it is obviously not like typical music as it is a voice over of a video, which is a little reminiscent of the idea of music videos, but not quite
• the background noise was consistent, her directions were repetitive, while her “chatting” in-between her repetitive direction giving changed, what she was talking about was easy to get lost in and when she gave a direction it brought you back into the present (even though you are watching a video of the past)
• i experienced a sense of calm while watching the video, i am the kind of person who enjoys background or white noise while studying, working, and trying to sleep
• this one was the most inspirational for my proposal as i am focusing on the noises around me at work and how that background noise of people and machines whirring can be very comforting

Christian Marclay “Guitar Drags”

• this particular piece was different from the other two as it was just a sound recording of a guitar being strummed or dragged
• the prompt seemed to be to make was many guitar noises possible, maybe even with objects that were not the hands
• it did not feel like any kind of music as there was no melody or any obvious form of repetition of notes that i could follow like in a song
• the sounds very very jarring and made for a very tense experience as a listener
• however, it did keep my interest as within the sounds i was hearing i related them to ones i have heard before like thunder or large crowds

Proposal

There were three main artists that inspired me for this proposal of a work to be completed for next weeks class. I found a quote from John Cage while exploring dome of his work: “I have come through my music to enjoy the sounds that are in my environment wherever I am”. I thought about all the places that I am normally at right now. More often than not, I am at home for work. The pandemic has obviously limited the places that I can spend my time so I thought it would be interesting to really explore these places and try to enjoy the sounds that they make. Both Janett Cardiff (especially in her “Audio Walks” series) and Emeka Ogboh make use of the natural ambiance produced by the environments in which they are working in. Ogboh even goes as far to say that Lagos (a heavily populated city in Africa he uses in much of his work) composes. For this work, I would like see what my environment’s sounds compose. I want to focus my attention more at work as I have less control over the sounds there. My plan is to take a one minute recording of the sounds produced by my work environment and listen back to it to see if I am pleased with what it composed. I did think about recording lots of sounds and cutting and pasting them together to make my own composition. However, I like the calming aspect of Cardiff’s work as one long “flow”. Picking sounds and putting them together would be too choppy and now have the ambiance affect I want.

Final Work

Milky Way

Final Proposal

I really liked Teching Hsieh’s One Year Preformace. In particular I liked the idea of documenting an object or action at a precise time consistently. It made me think about the candle I have in my room. I burn it when I am studying in the evening once it is dark out to make my room cozy.

I decided to take some pictures of if every hour while it burned while I studied. I thought it would be interesting to see how there would be small subtleties in each photo.

Final Conceptual Portrait

I filmed the view of my window for 24 hours. I included the end of my bed in a bit of the frame so that not only what was going on outside was documented but also what was going on inside. I did include sound, so you can here some of my zooms, my roommates around the apartment, mu music etc. Unfortunately, I did miss hours 4 and 5am. However, I have never tried to make a piece such as this and I am just happy that I got up for the hours of 2 to 3am and 6 to 7am.

Fluxus

‘Fluxus’ is the name of a transatlantic art movement that first came to prominence in the early 1960s. Its name which derives from the Latin word for ‘flux’ or ‘flow’ was coined by the artist George Maciunas in 1961. The many artists linked to the movement sought to blur the divisions between art forms and erode the boundary between art and life.¹ Initially recognised for its street and stage concerts, which combined elements of visual art, theatre and musical performance, the movement later gained attention for its multiples, with which it hoped to democratise the art market.

Fluxus multiple examples:

http://www.publiccollectors.org/Steven%20Leiber%20photos%20web/Steve%20Leiber%20fluxus%20web/StevenLeiber_Fluxus_SMS.htm

WHAT ARE MULTIPLES?

As the name itself suggests, ‘multiples’ are artworks of which many copies are produced. Each copy is typically identical, with none considered the original. Romanian-born Swiss artist Daniel Spoerri is credited with introducing the term to the art world in 1959, when he began a publishing initiative called Edition MAT (Multiplication d’Art Transformable).¹ The purpose of this venture was to produce small, three-dimensional artworks in editions and sell these at lower prices than unique works.² In this way, art would be made available to a larger audience and thus be rendered more accessible. While prints, books and sculptures have been replicated for centuries, Spoerri helped expand the horizons of editioned art to encompass modern art forms, such as sculptures using found or ‘readymade’ objects, and kinetic art, in which Edition MAT specialised. In doing so, he took a cue from the French artist Marcel Duchamp, who between 1935 and 1941 had produced small-scale copies of his own readymade sculptures and other works, issuing them together in a box entitled Boîte-en-valise.

Spoerri’s embrace of multiples was connected with a democratic impulse that would resonate throughout the 1960s. As the decade progressed, the art world would expand considerably, and so too would the market for multiples. By the end of the 1960s, young gallerists specialising in editioned works, along with dedicated art fairs, large-scale public exhibitions, and displays in popular venues like department stores had helped place multiples in the hands of a new and larger audience for art.³

A key facilitator of these developments was the Fluxus movement, which emerged in the early sixties and with which Spoerri was affiliated. Multiples played a central role in Fluxus, and were the focus of the publishing activities of one of the movement’s founding members, Lithuanian-born American artist George Maciunas. In 1963, as part of his initiative to break down the elitism of the art market, Maciunas opened his ‘Fluxshop’ in downtown New York. From this base, he produced and sold so-called ‘Flux Boxes’ and ‘Flux-Kits.’ Typically no larger than a briefcase, these compact containers housed a wider variety of multiples, created by many different artists.⁴ In the context of Fluxus multiples assumed a range of new, and often humorous guises, including scores for events and performances, interactive games, small booklets and other forms of printed matter.

As an affiliate member of Fluxus in Europe, who worked with Maciunas on several occasions, Beuys was well aware of his colleague’s activities and in 1965 began producing multiples of his own. In contrast to the works that Maciunas published, which often fit snuggly in the palm of one’s hand, Beuys’s first multiples were larger and were often more complex to produce. In place of small sheets of printed paper or boxes containing simple, prefabricated objects, Beuys favoured work with a more sculptural character, in which found materials were combined with hand-formed elements. This latter trait also set his works apart from Fluxus multiples, as well as those of Edition MAT, which avoided suggestions of hand-production. Many of Beuys later multiples also bore signs of the artist’s hand, in the form of signatures, inscriptions, and manually applied stamps. Like both Spoerri and Maciunas, Beuys had a strongly democratic vision for art, to which end he conceived his multiples as ‘vehicles’ for increasing art’s accessibility and distributing his ideas to a wider public.⁵ When his work began to take an explicitly political turn in the early 1970s, multiples became an ideal means of publicising his social concerns.

Fhttp://pinakothek-beuys-multiples.de/en/what-are-multiples/

I Really Should… – 2002 Audio CD, 48+ minutes, unlimited edition  Audio recording of 1000 things I really should do…

Not Fragile – 2012 Water-jet cut, powder coated sheet steel, plexiglass, LED lights & electronics  12″ diameter x 2″ Edition of 25 + 5 AP Co-published with Paul M Conway Editions Photo credit: Toni Hafkenscheid

1/3No Tofu/No Yoga Mat (Zippo) – 2009 Brushed stainless steel Zippo lighter w/ laser engraving on both sides  1.5″ x 2.25″ x .75″  Edition of 25 + 5 AP

1/2God Damn (Watch) – 2018 Custom designed laser engraved watch 40 mm diameter, 20 mm onyx black leather strap Edition of 25 + 1 APExhibition History: 2018 Olga Korper Gallery (Toronto, ON);

1/3Everything is Interesting – 2003 1.5″ diameter Produced for the Ikon Gallery. Birmingham, UKGill Saunders & Rosie Miles: “Prints Now” London: V&A Publications, 2006 (excerpt)  As part of her 2003 exhibition at the Ikon Gallery in Birmingham, Canadian artist Kelly Mark used badges, postcards, interventions and installations to extend the reach of the work beyond the institution. Badges and postcards printed with the statement “everything is interesting” (also the title of the exhibition) were circulated around Birmingham – they were on sale at the gallery but also distributed through letter-drops and mailings. Mark saw these anonymous statements as small works of art feeding into the fabric of life in the city, circulating her message by an ephemeral low-key strategy characteristic of her focus on the minutiae of everyday life. By disseminating the idea way beyond the circles of the initiated and those who visited the gallery, the badges offered a modest epiphany to an unknown and random audience.

Kelly Mark | Exist

Kelly Mark
Exist
Toronto, Canada: Self-published, 2009
7.5″ x 12″ x 2″
Edition of 25 + 2 AP

Altered exit sign, water-jet cut powder coated aluminum w/ LED lights

Shay Donavon, Nihilist Celebration, 2019

An End

ArtistSam CotterPrice$25.00Date2017PublisherSam CotterFormatMultiplesSize5 × 1.9 × 0.7 cmGenreMoney Clip, JewelleryDescription

A money clip bearing the small inscription “I too dream of an end to capitalism” — a signal of concurrence and a reminder of complicity. – Sam Cotter

Angelina Kiriakos,

Money Isn’t Love, 2019

The artist changed the text from Happy New Year to Money Isn’t Love on a template for making a Chinese money envelope, given at celebrations.

I Heart Conceptual Art (wristwatch)

ArtistMichael BucklandPrice$100.00Publisherself publishedFormatMultiplesDetailsWristwatchDescription

Wristwatch with black leather band, in a roundplatic watch case, with printed paper insert in bottom. The white watch face is printed with the moniker “I (red heart) Conceptual Art.”

Yinka Shonibare MBE | Kaleidoscope

Yinka Shonibare MBE
Kaleidoscope
London, UK: The Multiples Store, 2014
8 x 8 x 27 cm.
Edition of 45

“…Shonibare playfully reclaims an object from a familiar British tradition and subverts it through the use of batik patterns and by transforming the shape into that of a phallus. The opening at the head of the phallus reveals a distorted image of Sandro Botticelli’s Birth of Venus. Shonibare has replaced the familiar image of the ideal female nude with a photograph of a well-endowed male, subverting the image and preforming an act of reverse objectification. This object can also be seen as a subversive take on 19th century Victoriana, and specifically the “peep show” images of women viewed through devices such as a kaleidoscope.”
– The Multiples Store

George Brecht
Closed on Mondays
New York City, USA: Fluxus, 1969
10 x 12 x 1.6 cm. (sizes varied)
Edition size unknown

An opaque plastic Canal street box contains adhesive material to secure itself permanently shut (it can only be opened very slightly). A black and white image designed by George Maciunas (see his mechanical for the layout, above) is adhered to the lid in which five children gather in front of two large double doors, with two of them doodling on the ground. The title appears as part of the graffiti on the doors, “Closed on Mondays, A Fluxgame, by George Brecht.”

Brecht’s original prototype (above, bottom) was a wooden box held closed with a rubber band.

The idea comes from seeing signs in restaurant windows (Ferme le lundi), but functions just as well as a comment on the inaccessibility of art on Mondays (when many galleries are closed). The work also sits along other Fluxus kits which comment on their own opening and closing, such as Ken Friedman’s Open and Shut Case.

“I made a box in Villenfranche – it had a rubber band inside. And then George came with this other thing using rubber cement and he had this photo made. That’s more or less his recreation of the original model [which] has a little plastic sign on it with engraved white letters.”

– George Brecht, 1983

Micah Lexier
Envelope Sculpture
Toronto, Canada: Nothing Else Press, 2012
15 x 20 x 0.2 cm
Edition of 50 signed and numbered

Archival pigment print on paper, a reproduced shred of comic with the onomatopoeia of title. From the collection of the singer George Michael.

The 7th Nothing Else Press edition (and Lexier’s second) is a cardstock envelope printed with a set of instructions for making a sculpture using the six letterpressed, glueless envelopes enclosed. Star and Hexagon versions are available, each in an edition of fifty copies.

The works are available for $30.00 CDN each, or both for $50.00, from www.nothingelsepress.com or at the London Art Book Fair in two weeks time.

FIONA BANNER: TABLE STOPS

Edition of 100

Inquiries: http://www.fionabanner.com/vanitypress/

TABLE STOPS is a collection of seven ceramic full stops. Each full stop is taken from a different font: Klang, Slipstream, Avant Garde, Nuptial, Formata, Optical and Courier. The full stops are all enlarged to the same scale, though each is a very different size and shape.

See Fiona Banner’s Instagram – For examples including above: https://www.instagram.com/fionabannerakathevanitypress/

Ligorano/Reese, Fuck Snow Globe

Nora Ligorano and Marshall Reese have been collaborating since the 1980s. This best-selling multiple, from their limited edition series, showcases the designers’ sense of humor and multidisciplinary work using unusual materials and industrial processes.

Shannon Gerard and her crocheted multiples!

Guts multiples

Like my other crochet projects, Plants You Can’t Kill are attractive on the surface while also speaking to our human insecurities. These pretty little cacti, aloe plants, flowering pots, ferns and other botanicals look darling on the windowsill but are particularly resonant with those of us who can’t keep the real thing alive.

After dozens of failed attempts at indoor gardening, I just decided to crochet plants my own damn self.

These plants are for sale in my online shop, and in several stores across Canada and the USA. See Stockists tab for locations. See: http://www.shannongerard.org/plants-you-cant-kill-1#crochetedcacti

New Museum Store:

https://www.newmuseumstore.org/limited-editions

See Dave Dyment’s site:

http://www.nothingelsepress.com/

See John Marriot’s site:

http://www.johnmarriottstudio.com/

Art Mutters

ArtistJohn Marriott

Don’t it feel like the truth.

1.25 inch button taking its starting point from the PR button from the Art Gallery of Ontario that boldly proclaims “Art Matters”. Marriott’s version reflects the agony and intellectuality that at times seems to haunt it all.

Burnable Contemporary Art Gallery

ArtistJohn Marriott

Build your own burnable contemporary art gallery with this do it yourself kit from John Marriott. Kit includes a template for a multi-story public gallery of brazen contemporary architecture along with a sheet of tinfoil to create your own free-form addition that tastefully reflects recent movements in blobitecture.

See ART METROPOLE – Artist Multiples

Make an Artist Multiple

RECOMMENDED MEDIA: Posters, post-cards, T-shirts, mugs, a set of stickers, banners, matchbooks, artist books, modified products, small sculptures or other commercially-printed or mass printed media.

Due: See schedule for details

______________________________________________________________________

Since the 1950’s artists have been making accessible works in a series/edition intended for wider distribution than an expensive “original”. They would undermine the idea of precious/one-of-a-kind artworks, and be related to everyday objects and operations.

They have been made as prints, small manufactured sculptures, pins, artist books, magazines, postcards, t-shirts and other commercially reproducible media.

Artist multiples are sometimes playful and mischievous – exploring new and surprising manifestations of commercial goods – for example they are personal, satiric, highly conceptual, queer, alternative to mainstream ideas etc. They can also convey activist messages intended for wide distribution.

Students will create a playful artist multiple in a form intended to be made in “multiple”. You can create one or more of your multiples, or a few items in a series – and consider the ideal “edition” size when you show your work in critique. Your work should be finished like a product in a store, and this may include packaging to finish the work.

Consider artist multiples by some of the following artists:

Hiba Abdallah

Sandy Plotnikoff

Dave Dyment

Yoko Ono

David Shrigley

Kelly Mark

Adam David Brown

Roula Partheniou

Paige Gratland

Micah Lexier

Jessie Eisner

Tracey Emin

Piero Manzoni

John Baldessari

Fiona Banner

Germaine Koh

Jenny Holzer

Fluxus (various)

Students will document finished works at the studio with a backdrop/or in action for addition to the blog.

Two “commercial” style photos of your multiple must be posted on the blog with a title and short description by the end of the day on December 1, 2022 to receive a final grade.