Speaking with the group about the work of Nancy Spero, it instilled a new interest in the way in which we look at works in relation to others on the wall within the same exhibition space. Especially noteworthy to my eye was the way in which the accurate framing of the works came into our discussion. When thinking about Spero, and her attempt to fill transitional spaces, the frame seems a dangerous way to take away the transitional nature of her works, however the correct framing that we see in the Colby Museum impressively highlights this attribute of the work.<\/p>\n
Drawn to the work just above where we were sitting as a group, I find myself considering the preservation of transition that we see with this work via its mounting. Mounted in a floating position within the box frame, it seems to me to keep the transitional qualities wherever it may hang. This idea of the preservation of transition is very interesting, as it is something that we struggle to find both in art and the natural world. I consider my own research on the issue of graffiti in national parks and think about where those works fit in on the spectrum of the transition of these lands through their history. Removing the graffiti (which I argue against) seems to be a removal of this transitional and a push to hi light the old space, rather than the effects that the current state have on its development (or lack there of).<\/p>\n
Although this was a bit of a longwinded connection between my research and the work of Spero that we viewed in the museum, I find it exciting to be able to draw a tie between the two. There is, of course, a parallel to be drawn as well when considering the work Spero did to create a voice as a woman artist. This too can be tied to my research of unidentified graffiti in national parks.<\/p>\n","protected":false},"excerpt":{"rendered":"
Speaking with the group about the work of Nancy Spero, it instilled a new interest in the way in which we look at works in relation to others on the wall within the same exhibition space. Especially noteworthy to my eye was the way in which the accurate framing of the works came into our … <\/p>\n