Cathy Breslaw's Installation

Cathy Breslaw's Installation
Cathy Breslaw's Installation:Dreamscape

Monday, October 24, 2016

How I Used Aluminum To Teach Creativity

My time as a visiting artist & teacher
Working with Students, Faculty and Time Spent at a University in the Midwest

For the last two years, I've been working/planning on an exhibition at Viterbo University. Along with showing my work, I had the opportunity to give an artist lecture & work with the faculty and students at the university. It was an amazing and rewarding experience that I wanted to share with the world.

My show: Vibrations

These photos display the range of works in this exhibition.

The show included wall works, floor art work, and mixed media works on plastic.
Wall and floor works are a mixture of commercial mesh, paint, and found materials.

La Crosse Wisconsin from the air
La Crosse Wisconsin from the air

My teaching in Wisconsin centered on 'Creativity', a subject I have been studying for several years alongside the development of my art practice. I wanted to share my knowledge with students and guide them. It's the cultivation of this voice that is present in the creative process.  Identifying what moves us, and helps us grow in our art practice deserves at least as much focus and attention as learning formalized art techniques.

I call this process "Tapping Into the Well". As famed psychologist Carl Jung believed in the collective unconscious, I share the idea that all humanity draws from a 'source' of ideas, history, archetypes and mythology which encourages and feeds our voice over a lifetime. Whether we listen is another thing altogether and this is where a conscious process of 'paying attention' is required.

It's not something that can be directly taught, like skills in art, but I believe we can gain an awareness of those parts of ourselves that build upon this 'original' voice. A discussion of the ways we can develop creativity in ourselves and our work, (as well as stumbling blocks) followed. 

By providing students with an accessible and ubiquitous material like 'aluminum foil', they were given a timed period to experiment and develop ideas without the pressure of making a piece of 'art', per se. First, the goal was to access ideas via a 'brainstorming' process, jotting down ideas on post-it notes for a short timed period centered on the idea "Who Am I?"

Teaching a class on Creativity

I had a wonderful time meeting and working with students and  an extremely dedicated faculty. It is always an inspiration to see student/artists at work. The distinctive aspect of the curriculum at Viterbo is the individualized instruction and extended periods of time faculty spends with students, which is unique for an undergraduate art program. It was evident that this advantage for students played out in their focus and enthusiasm for their own art-making process.

Monday, October 17, 2016

A Look Back at Art, Politics and Culture of San Diego through Photography - Museum of Contemporary Art, La Jolla

Museum of Contemporary Art San Diego (La Jolla location)

The Uses of Photography: Art, Politics, and the Reinvention of a Medium

Through January , 2017

Article by Cathy Breslaw
Martha Rosler   Boys’ Room from House Beautiful: Bringing the War Home, c. 1967-72 photomontage
Courtesy of the artist and Mitchell-Innes & Nash, NY

Anyone interested in recalling or learning about cultural life in San Diego county during the time period from the 1960’s to the 1980’s, will be fascinated by this historical journey that curator, Jill Dawsey shapes for us through the eyes of sixteen widely known artists. These artists came together at University of California San Diego when the art department was newly formed in the 1960’s with a common focus on conceptual art. The exhibition features one hundred photographic works including photographic series, installation, slide projection, video, audio recordings, artist books, ephemera, and a program of film series. The art practices of these artists examined the social issues of the time including first wave feminism and struggles with identity, their position in the workplace and the nuclear family, the Vietnam War, racial issues between African Americans and whites, immigration as it relates to Mexico and border issues, and social unrest. Many of the social and political issues highlighted in these artworks mirrored the issues shared with other Americans across the United States.  As a medium, photography is often evaluated in terms of techniques used, its ability to replicate ‘reality’ and is often judged along with its painting and sculpture peers in terms of composition and elements of beauty. In the case of this exhibition, this typical framework  takes a back seat to historical documentation. This is not to say the artworks are less than stellar, but these works can’t help but strike an emotional chord with viewers. For some, the art works may illicit memories of personal experiences, as well as gaining a perspective on a time past. For others it is a fresh look at some of the important social issues of the 1960’s and 70’s and surprisingly, beg for us to draw comparisons to some current social, cultural and economic challenges.
Artists in the exhibition include David Antin, Eleanor Antin, John Baldessari, Jean-Pierre Gorin, Helen Mayer Harrison, Newton Harrison, Louis Hock, Allan Kaprow, Fred Lonidier, Babette Mangolte, Martha Rosler, Allan Sekula, Lorna Simpson, Elizabeth Sisco, Phel Steinmetz, and Carrie Mae Weems.

Elizabeth Sisco’s installation, “Flashcards,” incorporates text and photography to create a piece simulating Spanish vocabulary practice cards examining the complicated relationship between the economics of Mexican workers and their movement across the border to find work, calling attention to immigration issues. Martha Rosler’s photomontages  were a critique of fashion photography, and it’s use of the female body as a selling tool. The series, “Body Beautiful or Beauty Knows No Pain” uses photomontage to create images like “Cargo Cult,” depicting a group of containers that become frames for women’s faces derived from advertising placed on the deck of a ship, ready for “shipping”. Carrie Mae Weems “Family Pictures and Stories” is a series of text and image works seeking to portray the African-American family in public and private moments, in a more realistic way. Fred Lonidier’s work portray’s labor issues and one of Eleanor Antin’s works highlights the issue of the female figure, and the pressure to be an object of beauty, through her photo-documentation of herself through 38 days of being on a diet. Phil Steinmetz, Helen Mayer Harrison and Newton Harrison experimented with expanding the use of photographic landscape, creating some of the first instances of ecological art.  This important exhibition engages in a socio-political critique of a pivotal time in American history and culture as well as the unique and particular history of San Diego.

Allan Sekula     Untitled Slide Sequence 3      pigment prints 1972-2011
Collection of Museum of Contemporary Art, San Diego
Eleanor Antin     Caught in the Act       black and white video/sound still     1973
Courrtesy Ronald Feldman Fine Arts, NYC