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Monday, March 26, 2012

Student Artist Profile: Kasey Hartsock

Concentration: Photography
Graduation Year: 2012
Hometown: LA

Q: Why do you choose to mainly work in black and white?

A: I think it's more real. It seems honest and pure. I can't hide behind colors to distract myself and my audience from what I'm really thinking about.

Q: You have a large background in modeling. When did you realize and decide you wanted to switch from being in front of the camera to behind?

A:When I realized I couldn't push myself as the model to create the intense images that I wanted. As a fashion model, you don't get much say in the final piece, but as the photographer I can inspire, shoot, create, and push the limits. Ultimately, deciding my hopeful future role as an art director.

Q: You mentioned you now want to be an art director instead of a photographer. Why?

A: I think I'd have more control that way, which is exactly what I love. I've had so much experience now as the model, stylist, photographer, and it all adds up to being a director for me. Creating a vision that a team can commit to, put together, and produce.

Q: Where would you like to see your work end up?

A: I would love to be the executive art director of a magazine or publishing company, like Conde Nast. I could even see myself behind a brand name, creating the campaigns, and choosing the layouts for each new season or issue.

Q: Who are you influenced by?

A: Other artists, fashion designers, models, directors, writers, and photographers. I follow blogs from these creative people almost religiously and buy magazines constantly. I aspire to create the emotions inflicted by my favorite works of theirs.

Q: Share a funny story about your art.

A: My parents used to tell me that I couldn't draw; I specifically remember them calling me the scribbler, and teasing that I didn't color inside the lines. Therefore, I was in band for seven years, as a saxophone player, and didn't take an art class until my last year or two in high school.
...Who would have known it would be my major a few years later?

Q: As you recall, what is your first piece of artwork you created?

A: This weird little drawing I found in my parent's desk a few years ago. Why they kept it, I have no idea. It's supposed to be my interpretation of Picasso's work- and turned out as this funny little green, triangle man.

Q: Why do you mainly photograph people?

A: Because I don't understand them. Because they are: beautiful, dangerous, mysterious, and haunting- to me. I enjoy using the body as a vessel to show my frustration about humans, emotion, and beauty. There is something I don't fully understand about all of these things, but I feel a very strong connection to them.

Q: What aspects of the program or school engage you the most?

A: Lots of one on one time with my professors, due to the small class sizes. I love how it feels just like a family. After attending a larger university before coming to SNC, this feels like the perfect fit. Even teachers from other departments support, critique, and provide helpful words of wisdom, which doesn't seem to happen at other larger schools.

Q: Leave us with a quote or words of advice.

A: Don't listen to the wrong people.

To view Kasey's website click here

Interview by: Christy Rasmussen

Friday, March 23, 2012

Jenny Robinson Prints at the CCAI Courthouse Gallery

The Capital City Arts Initiative is currently presenting prints by San-Francisco-based printmaker Jenny Robinson at the CCAI Courthouse Gallery in Carson City.

I interviewed Robinson and wrote an essay for the show – here's the intro paragraph:
The exhibition Elapsed in Time, featuring work by printmaker Jenny Robinson, has a genuine sense of majesty. The prints she has on display are large, most of them over 30 by 50 inches – much larger than the usual print. They command the space they are displayed in, showing off a real technical brio. For Robinson, the scale is mostly a matter of format meeting subject matter. The prints at the CCAI Courthouse Gallery display big, mostly neglected structures: Gasometers, highway underpasses, abandoned rollercoaster tracks, water towers. The structures are massive, but they are also, in the context of their environments, generally unnoticed – hidden either by design or by obsolescence. Robinson’s prints reveal how these giant structures appear after they have stopped being looked after, and stopped being looked at (of course, Robinson herself is still looking).

Read the rest here.

Thursday, March 1, 2012

A Workshop with Joanna Frueh: The Glamour of Being Real

Tomorrow (Friday, March 2), visiting scholar, teacher, and artist Joanna Frueh will conduct a workshop in conjunction with her performance tonight at UNR, The Glamour of Being Real. Spots are currently still available, register at

Goals and Intentions
Workshops facilitate participants being true to themselves through practices of self-transformation and conscious self-creation. 
I bring to this workshop my 35 years of teaching experience as a university professor, my decades of bodily and scholarly research into soul-and-mind-inseparable-from-body, and my desire to help women in particular transform the negative habits of mind and body that pervade our culture in regard to women. I received a Lifetime Achievement Award from the Women's Caucus for Art in 2008 for satisfying that desire; as that organization wrote, “for helping forge a positive image of women as they experience life passionately.” 
What We Do in the Workshop
The book The Glamour of Being Real is composed of 5 chapters, Glamour Defined, Change, Body, Relationships, and Everyday Life. The basis of each workshop is the first chapter, which gives participants new ways to think about and activate trust in themselves. Then we focus on one of the chapter topics. Conversation and effectively simple body and mind practices are the methods for exploring self-creation and self-transformation—and for having fun.