Here is my professional info:
Thanks for taking the time.
Joseph W. Bigley
224-B Grand Blvd.
Boone, N.C. 28607
(828)719-8518
joebigley@gmail.com
www.joebigley.com
www.travfbd.com
Education
2008 M.F.A. Alfred University State College of Ceramics. Alfred, N.Y.
2004 B.F.A. Appalachian State University. Boone, N.C. Cum Laude.
Instructional Experience
2011-2012 Adjunct Instructor, Appalachian State University. Classes: Modeling and Casting, Foundations II: 3-D Design, Drawing Fundamentals
2010-2011 Adjunct Instructor, Appalachian State University. Classes: Intro to Studio Art:Installation Sculpture, Foundations II: 3-D Design, Fundamentals II 3-D Design, 2-D Design Fundamentals, Drawing Fundamentals
2008-2009 Adjunct Instructor, Alfred University. Classes: Issues and Debates in Contemporary Art, Art and Ecology (co-instructor), Introduction to Sophomore Sculpture, Basic 3-D Sculpture.
Spring 2008 Instructor on Record, Alfred University. Basic 3-D Sculpture.
2006-2007 Teaching Assistant, Alfred University. Junior Foundry.
2004-2006 Teaching Assistant, Appalachian State University. Foundations II: 3-D Design, Carving and Construction, Modeling and Casting.
Exhibition Record
Solo Exhibitions
2012 Grab Bag. Nth Gallery. Boone, NC.. (upcoming)
2010 Sundry. The Visual Art Exchange. Raleigh, N.C.
2009 Commentary. Gallery #354 Hungerford Building. Rochester, N.Y.
2006 Conglomeration. Turchin Center for the Visual Arts. Boone, N.C.
2005 Ritualisn’t Meliorism. Nth Gallery. Boone, N.C.
Selected Group Exhibitions
2012 Appalachian State University Faculty Biennial. Turchin Center for the Visual Arts and Catherine J. Smith Gallery. Boone, N.C. (upcoming)
2011-2012 Sculpture in the Garden Invitational. NC Botanical Gardens. Chapel Hill, N.C.
2011 Circumpolar: Go-shapers. Visual Studies Gallery, University of Buffalo. Buffalo, N.Y. (upcoming)
2011 Political Potpouri. Washington DC Museum of Contemporary Art. Wasghton D.C.
2011 Shine Your Light. American Legion. Lenior, N.C.
2011 Mystery Art. The Arts Center. Shelby, N.C.
2011 Appalachian Alumni in the Arts. The Turchin Center for the Visual Arts. Boone, N.C.
2011 Artifacts and Fiction: The Strange Legend of the Pianistas, as told by Michael Frassinelli. Catherine J. Smith Gallery, Boone, N.C.
2010 The Miniature Show. The Nth Gallery. Boone, N.C.
2010 The Self Portrait Project. Brooklyn Art Library. Brooklyn, N.Y.
2009 COP 15. Kunsthal Charlottenborge. Copenhagen, Denmark.
2009 En Skrue Los?. Skostredet 12. Bergen, Norway.
2009 Going Postal. Target Gallery/Torpedo Factory Art Center. Alexandria, V.A.
2009 Snap to Grid. Los Angeles Center for Digital Art. Los Angeles, C.A.
2009 NEVER THINK small!. Climate Gallery, Long Island City, N.Y.
2009 UrbanGreen. Elsewhere Artist Collaborative. Greensboro, N.C.
2009 Loop Video Art Festival 2009. Barcelona, Spain.
2008 Alfred International. Central Academy of Fine Arts. Beijing, China.
2008 Some People Alfred. Collaboration with Harrell Fletcher. Fosdick Nelson Gallery. Alfred, N.Y.
2008 Ferrocity: Contemporary Cast Iron Sculpture. Salem Art Works. Salem, N.Y.
2008 Made in NY 2008. Schweinfurth Memorial Art Center. Auburn, N.Y. Jurors: John McQueen and Jen Pepper.
2008 10th Annual Outdoor Exhibition Invitational. Unison Sculpture Garden. New Paltz, N.Y.
2008 M.F.A. Thesis Exhbition. Fosdick Nelson Gallery. Alfred, N.Y.
2008 IN Black & White: Louisiana’s Retreating Coast and Communities: Works from LUMCON’s Permanent Collection. Turchin Center. Boone, N.C.
2007 Columbus Iron Sculpture Exhibition. Columbus Area Arts Council. Columbus, I.N.
2007 The Wichita National All Media Craft Exhibition. The Wichita Center for the Arts. Wichita, K.S. Juror: Bede Clarke.
2007 Contemporary Sculpture at Chesterwood. Chesterwood Estate and Museum, Stockbridge. M.A. Jurer: Janet Riker.
2007 13v. Wellsville Creative Arts Center. Wellsville, N.C.
2006 2006 Appalachian State University Faculty Biennial Exhibition. Catherine J. Smith Gallery. Turchin Center for the Visual Arts. Boone, N.C
2005-2006 Tri-State Sculptors Member Outdoor Sculpture Show. Grounds of the Broyhill Inn. Boone, N.C.
2005 The Down East Sculpture Exhibition. Emerge Gallery. Greenville, N.C. Juror: Tom Grubb
2005 Dimensions 2005: A National Juried Fine Art Competition and Exhibition. Milton Rose Galleries. Winston-Salem, N.C. Juror: Philip Koch.
2004-2005 Emerging Artists. Catch 22 Gallery. St.Augustine, F.L.
2004 The Down East Sculpture Exhibition. Emerge Gallery. Greenville, N.C.
Professional Experience
2011 Visiting Artist Lecture. East Tennessee State University. Johnson City, T.N.
2011 Featured Artist, 10 Years and Counting 2001-2011.http://www.10yearsandcounting.com/artist_a_bigley.html
2011 Featured Artist, The Present Tense: Performance Art Initiative, Bicycle Series. http://thepresenttense.org/archive/?p=628
2011-2012 Faculty Advisor for The Peel Literary Arts Magazine. Appalachian State Univeristy Student Publication
2011 Emerging Artist Program Grant 2011-2012 Review Panel. Durham County Arts Council. Durham, N.C.
2011 Artist Lecture, The Turchin Center for the Visual Arts. Boone, N.C.
2011 Artist Lecture, The Washington DC Museum of Contemporary Art (MOCA DC).
2011 Artist Lecture, The Weatherspoon Art Museum, Greenville, N.C.
2011 Artist Lecture, Asheville Museum of Art. Asheville, N.C.
2011 Artist Lecture, Wonder Root. Atlanta, G.A.
2011 Artist Lecture, Swope Museum of Art. Terre Haute, I.N.
2011 Artist Lecture, Indianapolis Museum of Contemporary Art (INDY MOCA).
2011 Artist Lecture in conjunction with the McDonough Museum of Art. Youngstown, O.H.
2011 Appalachian State University Art Department Coordinator for How to Build a Forest. Interdisciplinary Performance Installation Project with visiting artists, Katie Pearl, Lisa Damour and Shawn Hall, in accordance with the ASU Theater Department.
2010 Mapping/Merging: A network for interdisciplinary and collaborative scholarship. College of Arts and Sciences. UNCG. Greensboro, N.C. Mapping Luncheon Talk.
2010-2011 Faculty Advisor for The Peel Literary Arts Magazine. Appalachian State University Student Publication.
2010 Artist Gallery Talk. Visual Art Exchange, Raleigh, N.C.
2010 Visiting Artist Lecture. Bowling Green University, Bowling Green, O.H.
2009 Visiting Artist Lecture and Bronze Casting Seminar. Jacksonville University, Jacksonville, F.L.
2006-2008 Elected Student Representative of Dean Advisory Board. Alfred University, Alfred, N.Y.
2007 Visiting Artist Lecture. East High School, Rochester, N.Y.
2004-2006 Technician in Residence. Appalachian State University, Boone, N.C.
2004-2006 Member of the Health and Safety Committee. Appalachian State University. Boone, N.C.
2005 Panel Discussion Facilitator: “Life After Undergraduate School”. Tri-State Sculptor’s Conference. Boone, N.C.
2005 Co-curator, Tri-State Sculptor’s Conference Student Show. Looking Glass Gallery.Boone, N.C.
2004 Taught Upward Bound Sculpture Class for disenfranchised youth. Boone, N.C.
2002-2004 Sculpture Studio Student Monitor. Appalachian State University. Boone, N.C.
Awards and Nominations
2011 Sustainability in the Arts Grant. Appalachian State University Sustainability Council.
2010 Recipient of The Durham Arts Council Emerging Artist Grant.
2010 Honorable Mention Mixed Media Sculpture Art Buzz 2010 Collection.
2008 Honorable Mention International Sculpture Center Outstanding Student Achievement Award.
2007 Recipient of Chesterwood Advisory Board Award. Contemporary Sculpture at Chesterwood, Stockbridge, M.A.
2007 Nominated for the International Sculpture Center Outstanding Student Achievement Award.
2007 Nominated for the Dedalus Foundation Grant.
2004 Recipient of Outstanding Senior Merit Award. Appalachian State University.
Permanent Collections
Single Acre Farm. Asheville, N.C.
Kyoto International Woodprint Association. Kyoto, Japan.
Jacksonville University. Jacksonville, F.L.
Louisiana Universities Marine Consortium (LUMCON). Chauvin, L.A.
Turchin Center for the Visual Arts. Boone, N.C.
The Doc and Merle Watson Heritage Museum. Sugar Grove, N.C.
Residencies/Workshops
2011 Antenna Gallery Residency. New Orleans, L.A.
2005 Glass Blowing with Junichero Baba. Penland School of Crafts. Penland, N.C.
Publications
2010 A Vicious Cycle: A Graphic Depiction. The Mantle: A Forum for Progressive Critique http://www.mantlethought.org/content/vicious-cycle
2010 The Self Portrait Project. Art House, LLC. Brooklyn, N.Y.
2010 Art Buzz. Art Buzz Publishing. Dunedin, F.L.
Community Projects
2006 Donated 2 site specific installations to The Boone Community Garden. Boone, N.C.
2005 Mural for Hardin Park Elementary School. Boone, N.C.
Teaching Philosophy
Joseph Bigley
Safety is paramount in my classes. Proper use of equipment, handling of materials and personal protection equipment is the initial focus when potentially harmful processes are being used in the class. This involves cultivating a comfortable and professional classroom atmosphere that runs on mutual respect and coordination among peers to enhance overall learning. I am aware that there are multiple ways that individuals learn. From the outset of each class term it is my intention to use diverse methodologies and to connect with the various students to find a commonality and understanding as an access point to their receptivity. Understanding a students individual artistic sensibilities and interests in order to customize instruction is an approach that I have found to be rewarding to both the students and to myself.
In any studio class a balance between technical ability and idea development through a reflective approach are the primary goals set for the students. In introduction studio courses, demonstrations of equipment are made to the whole class, followed by one-on-one guidance to ensure adequate understanding of the process shown. An appropriate amount of time is allowed for familiarization of new processes. Projects within introduction classes still consider conceptual backings of student work during the period of acclimation. Emphasis is placed on cultural and historical significance of materials, processes, and objects and how that may inform the work as pertains to any given artistic endeavor.
I take great interest and see it as my responsibility as an instructor to stay well informed on contemporary art, artists, their work and the wider events of society. The social relevancy of art is a major factor in my instruction. Critical readings and writings are part of my courses as ways to expose students to new ways of thinking and to encourage self directed external research. Discussions on contemporary art and broader events in humanity take place when relevant. I encourage students to consider cross-disciplinary approaches to art making, bringing in influences that go beyond the realm of art. Exploring personal sensibilities through research to gain a more informed stance on artistic intentions and pursuits is a vital component to more advanced studio classes. Experimentation, innovation and being aware of emerging technologies as it pertains to the creation of sculpture and new media are incorporated into the classroom. Students are expected to participate in thoughtful, considered class based discussions. Critical dialogue plays a major role in the development and student understanding of how they view the effectiveness of their work in relation to the intentions behind it. Class blogs may be incorporated for students to actively share ideas, research and new findings as a forum that extends beyond the classroom.
The integration of sculpture and new media is an organic one when allowed to develop naturally and not forced into co-existence. Generating an understanding of the potentials of new media and its significance in the rapid pace of today’s society helps students to see their work in a broader context. The reciprocity of time and interactivity in sculpture that harnesses the possibilities of new media, or new media itself, have expansive characteristics not found in all forms of visual expression. These inherent traits in new media that we are privileged to use by working today, are important to student’s understandings of the potency that lies in the medium.
The diversity of today’s digital media landscape offers artists unprecedented ways of expression. From digital photography to interactive installations using digital micro-controllers such as Arduino to web-based work, students are nurtured towards finding innovative ways to utilize these emerging and expansive methods, tools and forums. Industrial and social engagement with new digital technologies is a jumping off point for discussions about measures to adopt them as a means of artistic production thereby continuing the tradition of using the latest technologies in artistic practice.
Artist Statement
Joseph Bigley
The social relevancy of art and its ability to incite a dialogue, forms the basis of my work. Each project is steeped in a research-based practice. Research is the deciding factor for the approach taken for each work. Processes, materials, manners of display, and locations are all informed by the resulting research that each project directs. This has led to an expansive use of materials including but not limited too: cast metals, digital video, kinetic works, performance, installation and works that directly engage with the public.
The work explores responses to various components of the human condition. Staying informed on current and historical global events, policies and shortcomings has been a common springboard for recent projects. My work is placed in a middle ground by trying to avoid an overly dogmatic flair and emphasizing an objective sensibility to allow the viewer to come to their own stance on the topic that is being highlighted.
With the ubiquity and effectiveness of telecommunications and mobile technology, the experimentation with digital social networks, interactive installations as a metaphor for contemporary systems, tracking devices, and discussion forums are finding their way into my work exponentially. I currently have several projects in process that harness such technologies and continue to seek out cutting edge technologies that are appropriate to my artistic practice and the societal issues that are of interest and importance to address. These technologies are used for their ability to immediately transfer of content gathered within extended public performances. From digital video, digital photography and text, the unfolding of long term projects both in objective reception and subjective response is being employed to capture the work in as fresh of a manner as possible. Projects such as these benefit from an unfiltered and direct way of reacting and expediting content that is yielded.
These projects are intended to interact with the public in a manner that may not explicitly be perceived as artistic at first glance. Such a practice that uses everyday interactions allows for an artistic experience to exist without the intimidation and sacrosanct nature of an artistic experience within an institution. This is a way to bring art into a more intimate relationship with everyday life and expose people who may be less than inclined to visit an art institution to a contemporary form of art.
224-B Grand Blvd.
Boone, N.C. 28607
(828)719-8518
joebigley@gmail.com
www.joebigley.com
www.travfbd.com
Education
2008 M.F.A. Alfred University State College of Ceramics. Alfred, N.Y.
2004 B.F.A. Appalachian State University. Boone, N.C. Cum Laude.
Instructional Experience
2011-2012 Adjunct Instructor, Appalachian State University. Classes: Modeling and Casting, Foundations II: 3-D Design, Drawing Fundamentals
2010-2011 Adjunct Instructor, Appalachian State University. Classes: Intro to Studio Art:Installation Sculpture, Foundations II: 3-D Design, Fundamentals II 3-D Design, 2-D Design Fundamentals, Drawing Fundamentals
2008-2009 Adjunct Instructor, Alfred University. Classes: Issues and Debates in Contemporary Art, Art and Ecology (co-instructor), Introduction to Sophomore Sculpture, Basic 3-D Sculpture.
Spring 2008 Instructor on Record, Alfred University. Basic 3-D Sculpture.
2006-2007 Teaching Assistant, Alfred University. Junior Foundry.
2004-2006 Teaching Assistant, Appalachian State University. Foundations II: 3-D Design, Carving and Construction, Modeling and Casting.
Exhibition Record
Solo Exhibitions
2012 Grab Bag. Nth Gallery. Boone, NC.. (upcoming)
2010 Sundry. The Visual Art Exchange. Raleigh, N.C.
2009 Commentary. Gallery #354 Hungerford Building. Rochester, N.Y.
2006 Conglomeration. Turchin Center for the Visual Arts. Boone, N.C.
2005 Ritualisn’t Meliorism. Nth Gallery. Boone, N.C.
Selected Group Exhibitions
2012 Appalachian State University Faculty Biennial. Turchin Center for the Visual Arts and Catherine J. Smith Gallery. Boone, N.C. (upcoming)
2011-2012 Sculpture in the Garden Invitational. NC Botanical Gardens. Chapel Hill, N.C.
2011 Circumpolar: Go-shapers. Visual Studies Gallery, University of Buffalo. Buffalo, N.Y. (upcoming)
2011 Political Potpouri. Washington DC Museum of Contemporary Art. Wasghton D.C.
2011 Shine Your Light. American Legion. Lenior, N.C.
2011 Mystery Art. The Arts Center. Shelby, N.C.
2011 Appalachian Alumni in the Arts. The Turchin Center for the Visual Arts. Boone, N.C.
2011 Artifacts and Fiction: The Strange Legend of the Pianistas, as told by Michael Frassinelli. Catherine J. Smith Gallery, Boone, N.C.
2010 The Miniature Show. The Nth Gallery. Boone, N.C.
2010 The Self Portrait Project. Brooklyn Art Library. Brooklyn, N.Y.
2009 COP 15. Kunsthal Charlottenborge. Copenhagen, Denmark.
2009 En Skrue Los?. Skostredet 12. Bergen, Norway.
2009 Going Postal. Target Gallery/Torpedo Factory Art Center. Alexandria, V.A.
2009 Snap to Grid. Los Angeles Center for Digital Art. Los Angeles, C.A.
2009 NEVER THINK small!. Climate Gallery, Long Island City, N.Y.
2009 UrbanGreen. Elsewhere Artist Collaborative. Greensboro, N.C.
2009 Loop Video Art Festival 2009. Barcelona, Spain.
2008 Alfred International. Central Academy of Fine Arts. Beijing, China.
2008 Some People Alfred. Collaboration with Harrell Fletcher. Fosdick Nelson Gallery. Alfred, N.Y.
2008 Ferrocity: Contemporary Cast Iron Sculpture. Salem Art Works. Salem, N.Y.
2008 Made in NY 2008. Schweinfurth Memorial Art Center. Auburn, N.Y. Jurors: John McQueen and Jen Pepper.
2008 10th Annual Outdoor Exhibition Invitational. Unison Sculpture Garden. New Paltz, N.Y.
2008 M.F.A. Thesis Exhbition. Fosdick Nelson Gallery. Alfred, N.Y.
2008 IN Black & White: Louisiana’s Retreating Coast and Communities: Works from LUMCON’s Permanent Collection. Turchin Center. Boone, N.C.
2007 Columbus Iron Sculpture Exhibition. Columbus Area Arts Council. Columbus, I.N.
2007 The Wichita National All Media Craft Exhibition. The Wichita Center for the Arts. Wichita, K.S. Juror: Bede Clarke.
2007 Contemporary Sculpture at Chesterwood. Chesterwood Estate and Museum, Stockbridge. M.A. Jurer: Janet Riker.
2007 13v. Wellsville Creative Arts Center. Wellsville, N.C.
2006 2006 Appalachian State University Faculty Biennial Exhibition. Catherine J. Smith Gallery. Turchin Center for the Visual Arts. Boone, N.C
2005-2006 Tri-State Sculptors Member Outdoor Sculpture Show. Grounds of the Broyhill Inn. Boone, N.C.
2005 The Down East Sculpture Exhibition. Emerge Gallery. Greenville, N.C. Juror: Tom Grubb
2005 Dimensions 2005: A National Juried Fine Art Competition and Exhibition. Milton Rose Galleries. Winston-Salem, N.C. Juror: Philip Koch.
2004-2005 Emerging Artists. Catch 22 Gallery. St.Augustine, F.L.
2004 The Down East Sculpture Exhibition. Emerge Gallery. Greenville, N.C.
Professional Experience
2011 Visiting Artist Lecture. East Tennessee State University. Johnson City, T.N.
2011 Featured Artist, 10 Years and Counting 2001-2011.http://www.10yearsandcounting.com/artist_a_bigley.html
2011 Featured Artist, The Present Tense: Performance Art Initiative, Bicycle Series. http://thepresenttense.org/archive/?p=628
2011-2012 Faculty Advisor for The Peel Literary Arts Magazine. Appalachian State Univeristy Student Publication
2011 Emerging Artist Program Grant 2011-2012 Review Panel. Durham County Arts Council. Durham, N.C.
2011 Artist Lecture, The Turchin Center for the Visual Arts. Boone, N.C.
2011 Artist Lecture, The Washington DC Museum of Contemporary Art (MOCA DC).
2011 Artist Lecture, The Weatherspoon Art Museum, Greenville, N.C.
2011 Artist Lecture, Asheville Museum of Art. Asheville, N.C.
2011 Artist Lecture, Wonder Root. Atlanta, G.A.
2011 Artist Lecture, Swope Museum of Art. Terre Haute, I.N.
2011 Artist Lecture, Indianapolis Museum of Contemporary Art (INDY MOCA).
2011 Artist Lecture in conjunction with the McDonough Museum of Art. Youngstown, O.H.
2011 Appalachian State University Art Department Coordinator for How to Build a Forest. Interdisciplinary Performance Installation Project with visiting artists, Katie Pearl, Lisa Damour and Shawn Hall, in accordance with the ASU Theater Department.
2010 Mapping/Merging: A network for interdisciplinary and collaborative scholarship. College of Arts and Sciences. UNCG. Greensboro, N.C. Mapping Luncheon Talk.
2010-2011 Faculty Advisor for The Peel Literary Arts Magazine. Appalachian State University Student Publication.
2010 Artist Gallery Talk. Visual Art Exchange, Raleigh, N.C.
2010 Visiting Artist Lecture. Bowling Green University, Bowling Green, O.H.
2009 Visiting Artist Lecture and Bronze Casting Seminar. Jacksonville University, Jacksonville, F.L.
2006-2008 Elected Student Representative of Dean Advisory Board. Alfred University, Alfred, N.Y.
2007 Visiting Artist Lecture. East High School, Rochester, N.Y.
2004-2006 Technician in Residence. Appalachian State University, Boone, N.C.
2004-2006 Member of the Health and Safety Committee. Appalachian State University. Boone, N.C.
2005 Panel Discussion Facilitator: “Life After Undergraduate School”. Tri-State Sculptor’s Conference. Boone, N.C.
2005 Co-curator, Tri-State Sculptor’s Conference Student Show. Looking Glass Gallery.Boone, N.C.
2004 Taught Upward Bound Sculpture Class for disenfranchised youth. Boone, N.C.
2002-2004 Sculpture Studio Student Monitor. Appalachian State University. Boone, N.C.
Awards and Nominations
2011 Sustainability in the Arts Grant. Appalachian State University Sustainability Council.
2010 Recipient of The Durham Arts Council Emerging Artist Grant.
2010 Honorable Mention Mixed Media Sculpture Art Buzz 2010 Collection.
2008 Honorable Mention International Sculpture Center Outstanding Student Achievement Award.
2007 Recipient of Chesterwood Advisory Board Award. Contemporary Sculpture at Chesterwood, Stockbridge, M.A.
2007 Nominated for the International Sculpture Center Outstanding Student Achievement Award.
2007 Nominated for the Dedalus Foundation Grant.
2004 Recipient of Outstanding Senior Merit Award. Appalachian State University.
Permanent Collections
Single Acre Farm. Asheville, N.C.
Kyoto International Woodprint Association. Kyoto, Japan.
Jacksonville University. Jacksonville, F.L.
Louisiana Universities Marine Consortium (LUMCON). Chauvin, L.A.
Turchin Center for the Visual Arts. Boone, N.C.
The Doc and Merle Watson Heritage Museum. Sugar Grove, N.C.
Residencies/Workshops
2011 Antenna Gallery Residency. New Orleans, L.A.
2005 Glass Blowing with Junichero Baba. Penland School of Crafts. Penland, N.C.
Publications
2010 A Vicious Cycle: A Graphic Depiction. The Mantle: A Forum for Progressive Critique http://www.mantlethought.org/content/vicious-cycle
2010 The Self Portrait Project. Art House, LLC. Brooklyn, N.Y.
2010 Art Buzz. Art Buzz Publishing. Dunedin, F.L.
Community Projects
2006 Donated 2 site specific installations to The Boone Community Garden. Boone, N.C.
2005 Mural for Hardin Park Elementary School. Boone, N.C.
Teaching Philosophy
Joseph Bigley
Safety is paramount in my classes. Proper use of equipment, handling of materials and personal protection equipment is the initial focus when potentially harmful processes are being used in the class. This involves cultivating a comfortable and professional classroom atmosphere that runs on mutual respect and coordination among peers to enhance overall learning. I am aware that there are multiple ways that individuals learn. From the outset of each class term it is my intention to use diverse methodologies and to connect with the various students to find a commonality and understanding as an access point to their receptivity. Understanding a students individual artistic sensibilities and interests in order to customize instruction is an approach that I have found to be rewarding to both the students and to myself.
In any studio class a balance between technical ability and idea development through a reflective approach are the primary goals set for the students. In introduction studio courses, demonstrations of equipment are made to the whole class, followed by one-on-one guidance to ensure adequate understanding of the process shown. An appropriate amount of time is allowed for familiarization of new processes. Projects within introduction classes still consider conceptual backings of student work during the period of acclimation. Emphasis is placed on cultural and historical significance of materials, processes, and objects and how that may inform the work as pertains to any given artistic endeavor.
I take great interest and see it as my responsibility as an instructor to stay well informed on contemporary art, artists, their work and the wider events of society. The social relevancy of art is a major factor in my instruction. Critical readings and writings are part of my courses as ways to expose students to new ways of thinking and to encourage self directed external research. Discussions on contemporary art and broader events in humanity take place when relevant. I encourage students to consider cross-disciplinary approaches to art making, bringing in influences that go beyond the realm of art. Exploring personal sensibilities through research to gain a more informed stance on artistic intentions and pursuits is a vital component to more advanced studio classes. Experimentation, innovation and being aware of emerging technologies as it pertains to the creation of sculpture and new media are incorporated into the classroom. Students are expected to participate in thoughtful, considered class based discussions. Critical dialogue plays a major role in the development and student understanding of how they view the effectiveness of their work in relation to the intentions behind it. Class blogs may be incorporated for students to actively share ideas, research and new findings as a forum that extends beyond the classroom.
The integration of sculpture and new media is an organic one when allowed to develop naturally and not forced into co-existence. Generating an understanding of the potentials of new media and its significance in the rapid pace of today’s society helps students to see their work in a broader context. The reciprocity of time and interactivity in sculpture that harnesses the possibilities of new media, or new media itself, have expansive characteristics not found in all forms of visual expression. These inherent traits in new media that we are privileged to use by working today, are important to student’s understandings of the potency that lies in the medium.
The diversity of today’s digital media landscape offers artists unprecedented ways of expression. From digital photography to interactive installations using digital micro-controllers such as Arduino to web-based work, students are nurtured towards finding innovative ways to utilize these emerging and expansive methods, tools and forums. Industrial and social engagement with new digital technologies is a jumping off point for discussions about measures to adopt them as a means of artistic production thereby continuing the tradition of using the latest technologies in artistic practice.
Artist Statement
Joseph Bigley
The social relevancy of art and its ability to incite a dialogue, forms the basis of my work. Each project is steeped in a research-based practice. Research is the deciding factor for the approach taken for each work. Processes, materials, manners of display, and locations are all informed by the resulting research that each project directs. This has led to an expansive use of materials including but not limited too: cast metals, digital video, kinetic works, performance, installation and works that directly engage with the public.
The work explores responses to various components of the human condition. Staying informed on current and historical global events, policies and shortcomings has been a common springboard for recent projects. My work is placed in a middle ground by trying to avoid an overly dogmatic flair and emphasizing an objective sensibility to allow the viewer to come to their own stance on the topic that is being highlighted.
With the ubiquity and effectiveness of telecommunications and mobile technology, the experimentation with digital social networks, interactive installations as a metaphor for contemporary systems, tracking devices, and discussion forums are finding their way into my work exponentially. I currently have several projects in process that harness such technologies and continue to seek out cutting edge technologies that are appropriate to my artistic practice and the societal issues that are of interest and importance to address. These technologies are used for their ability to immediately transfer of content gathered within extended public performances. From digital video, digital photography and text, the unfolding of long term projects both in objective reception and subjective response is being employed to capture the work in as fresh of a manner as possible. Projects such as these benefit from an unfiltered and direct way of reacting and expediting content that is yielded.
These projects are intended to interact with the public in a manner that may not explicitly be perceived as artistic at first glance. Such a practice that uses everyday interactions allows for an artistic experience to exist without the intimidation and sacrosanct nature of an artistic experience within an institution. This is a way to bring art into a more intimate relationship with everyday life and expose people who may be less than inclined to visit an art institution to a contemporary form of art.
