A How to Guide to organizing our very own art exhibition

The 365 Artists 365 Days Project started on January 1, 2014 between founder Frank Juarez (Frank Juarez Gallery) and Zina Mussman and Rachel Quirk (Greymatter Gallery). This project started as a collaboration to introduce its readership to a diverse collection of art that was being produced at the local, national and international level. The goal was to engage the public with content regarding a wide array of creative processes, studio practices, and the successes and challenges that artists face from day to day inside their studios.

What started as a one-year project grew into 2-years of daily visual literacy featuring artists from across the country and around the globe. Many of which continue to push the envelope on what it means to be an artist today. The project officially ended on December 31, 2015. Since then Juarez has been presenting on this project at the state and national levels primarily at the Wisconsin Art Education Association Conference and the National Art Education Association Conventions. In one of his sessions, a high school art educator, Elyse Lucas, attended the presentation in 2015. It was then that sparked a new idea for incorporating the project within the art classroom focusing on education. 

Lucas created a very unique art lesson by implementing the 365 Artists 365 Days Project into her curriculum called The DIY Gallery: A Deeper Look into the 365 Artists 365 Days Project, which inspired her high school art students to research, collaborate, and to design their own mock up art galleries. A year later, their journey led them to organize and curate a real exhibition in North East Wisconsin featuring Wisconsin artists from this project.

This led Juarez and Lucas to begin a new collaboration by sharing this project to other art educators from across the state of Wisconsin and beyond. In October of 2016 and March of 2017 they presented at the Wisconsin Art Education Association Fall Conference in La Crosse, Wisconsin and the National Art Education Association Convention in New York, respectively. As a result of this experience, they developed an A How To Guide to Organizing Your Very Own Art Exhibition” as a way to encourage art educators to embrace their local art community, Contemporary Art, and to continue to expose students to learn about artists that are making meaningful and significant works today.

We hope you enjoy this guide.

Frank Juarez & Elyse Lucas    

Click here to download the How To Guide to Organizing Your Very Own Art Exhibition.

Disclaimer: this how to guide was designed to encourage art educators to incorporate more Contemporary Art into their curriculum. We also encourage you to download our Artist Databases (2014, 2015) for a comprehensive list of artists that were featured in the 365 Artists 365 Days Project. This How To Guide is complimentary. Courtesy of the 365 Artists 365 Days Project, Frank Juarez, and Elyse Lucas. 

We would love to see how you use this How To Guide with your students! Feel free to stay in touch by filling out the form below and by connecting with us on social media: #snhsartdept, #frankjuarezgallery, #elyseclucas.

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Ana Perez Ventura at H Gallery in Paris


La Mesure du Temps

Opening Thursday, May 11, 2017 from 6pm to 9pm

Breakfast for the Press, Tuesday, May 16, 2017 from 9 to 11am

Exhibition from May 12 to June 3, 2017.

Gallery hours: Tuesday to Saturday from 10am to 1pm and from 2pm to 7pm.

Ana Perez Ventura was one of our featured artists in 2015.

Click here to read her interview.

image courtesy of the artist

Ana Perez Ventura is a Spanish artist based in France, but also a talented musician. Her work creates new correspondences between art and music while exploring the relationships between time, space and the idea of repetition. La Mesure du Temps is the first personal exhibition of the artist at H Gallery.

Ventura’s work had already appeared at the gallery in June 2016 in the group show, Harmonies Constructivistes. Her training as a pianist is the basis of her art. To develop the necessary qualities to a concert performer, a pianist must spend hours repeating the same gestures so that the body can internalize and integrate them. The artist establishes a synesthesia, an equivalence between music and painting and thus becomes a kind of human metronome. Music gives the impulse and the work visually explores the passage of time which is then reflected in the process of creating images.

Indeed, in the same way that a pianist must practice, repeat, memorize his scales and in the same way that a composer builds a score with motifs assembled in a certain order, the artist, involving her body by similar gestures, repeats again and again, on canvas or on paper, patterns in a particular order, while superimposing them. Ventura adds strata of colors and shapes to create her artworks. Likewise, the musician’s memory, notes and gestures superimpose the notes to make a synthesis, a melody, a music. She finds beauty in the technical aspects of her exercises, just like an athlete could find as much beauty in her training as in her victories. Her gestures measure and count time and, by inscribing themselves in space, her works make visible the music which, in essence, is impalpable.

Ana Pérez Ventura, Etude n°199, Acrylique sur toile, 38 x 46 cm, 2017

Neumes are signs of musical notation inherited from the Middle Ages. Their etymology, which means «which concerns air, breath», indicates that musical notation is already a writing of the time. The series of the Neumas by Ana Pérez Ventura is com- posed of 27 pieces based on the 24 studies and 3 other musical pieces by Chopin. The latter developed this pianistic genre by going beyond the educational aspect in order to make masterpieces of technique and emotion. To create this series, Ana transcribes the score with white and black points that correspond to the piano keys, she removes the rhythmic indications of the stave and reveals the relative relations between the notes. Each page is written on a layer of tracing paper and superimposed on the next page. The cryptic drawing becomes a real three-dimensional object whose plays of transparencies and nuances create subtle melodic forms.

Her series of Notages began when she was invited to participate in an exhibition on monochrome. The notages are an operation to record airs on music boxes hence the idea of drilling holes in her works. She first used a study by Chopin (op.10, no. 5) in which the right hand plays only on black keys. She continued this series with her works playfully nicknamed «beans», for the exhibition Réalités Nouvelles in which she participates regularly, using repetitive piano exercises that she describes as slightly boring, such as those by Lemoine or Hanon. The physical effort to drill the holes in the various materials, the variations in the depth of the holes themselves, the precision, the unacceptable slightest mistake, the patience and the discipline used in this series mirror the experience of a professional pianist.

The repetitive practice of scales is one of the exercises that each pianist must perform regularly. A scale is based on an ordered set of notes that follows a sequence of fixed intervals, which can be repeated on different octaves. The major scale is one of the most used musical components. It is possible to form a major scale from each of the 12 piano keys (7 white and 5 black). There are therefore 12 major scales. Each scale involves using a certain set of notes, a certain physical path that the fingers and hands of the pianist must learn by heart and repeat unceasingly.

The drawings of the 12 Gammes majeures series show the scores of the twelve major possible scales that use the maximum number of octaves according to the keyboard size. Ana Perez Ventura’s drawings work like geographical maps and indicate the paths that must be followed by fingers on the keyboard. The color of each note refers to the specific physical spaces that are the black and white keys.

Ventura’s paintings and drawings can be gathered under the name of Etudes. This series, begun in 2007, has undergone aesthetic and technical evolutions. In music, a study is a piece intended to solve a specific problem, usually technical, which is translated by a gesture, a concrete physical movement. For Ventura, the specific problem to solve is how to create an entire work from a continuous line in the same way that a piece of piano is played from beginning to end. She has engraved paint layers, applied the paint with markers transformed into tubes, quarter-turned her canvases and papers between each layer, drawn curves until reaching the limits of the canvas and of her own physical resistance.

In her Études, she explores the temporality of the painter’s gesture. The works are, therefore, the result of the rhythmic repetition of the same circular gesture which leaves a mark on the surface of the canvas by adding or subtracting matter. The repetition of this gesture makes the pictorial surface a weaving. Thus, the final image is the result of superimposed layers which give rise to an infinity of subtle variations in color and depth.

In music, studies are built around a single musical material, rhythmic and melodic patterns that repeat with slight variations and create a continuous writing that visually recalls a tapestry. In the same way, the plastic choreography of gestures and movements of Ventura creates works that are as swirling as hypnotic.

The conceptual and geometric works of Ventura reveal themselves to be of great poetry and immense beauty, for whom takes the time to look at them and immerse themselves in them. Their abstraction, their silence is only apparent since they evoke a sensitive, real and sonorous language: music. The notes, the inflections become colors, points, lines, holes, crevices and produce sounds that resonate, whether subtle or brilliant, in the heads of visitors… Beyond contemplation, a rhythmic, plastic, meaningful and physical spiral invites our imagination to a delicate and effervescent dance.

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Vilyana Milanova at Galerie Kras in Austria

Vilyana Milanova was one of our featured artists in 2015.

Click here to read her interview.

Below are some images from her current show in Austria.

Images courtesy of the artist and used with permission.

Painting by Vilyana Milanova

Painting by Vilyana Milanova

What do you see?

About What do you see?
It’s a touchable work – a woven textile with earplugs. It is made to be touched and not just seen with eyes. It brings the idea – you don’t need eyes to see, you need vision. 
The name of that work is, “What do you see”. With the headphones is “written” in braille – now I can see. So, the one who can’t physically see it, can ,however, touch it and be part of this process – “viewer” / artwork. I used earbuds because nowadays we use them a lot but it actually damages our hearing. So, I decided – first, I am going to destroy the ear buds. Second, I transformed their function – they are now a help for this artwork to be read. 
I wanted to make it because of all the people who can see something through other senses. We all have five sense and usually use only one of them to “see” the art.  – Vilyana Milanova
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Life after the National Art Education Association 2017 Convention in New York

Elyse Lucas, Appleton Career Academy art educator, and Frank Juarez at the National Art Education Association Convention in New York.

One thing Frank Juarez enjoyed about attending the National Art Education Association’s annual convention is how he felt after he returned back to Wisconsin. He felt motivated. He felt empowered. He felt rejuvenated. 

He was in awe by the dedication that these art educators put into their practice bringing innovative strategies, resources, and projects into the classroom. Having left with a diverse collection of notes, PowerPoints, photographs, etc has a long lasting impact on his profession and a great way to reflect on what he had learned. Having the opportunity to engage in meaningful dialogue with educators from across the country is so vital to better understand the situation we face today in art education. 

Bringing the DIY Gallery: A Deeper Look into the 365 Artists 365 Days Project to the national level was such a rewarding and meaningful experience. Although the intent of the project has changed slightly focusing on art education what matters is that we are constantly introducing to our readers that our communities have a lot to offer in terms of exposing, educating, and engaging them in contemporary art. Witnessing first hand on the impact that this project has had on Elyse’s art students was amazing! 

Elyse & Frank will be working on putting together a How To Guide to Organizing Your Very Own Art Exhibition later this summer. 

Frank Juarez talking about the 365 Artists 365 Days Project (A Frank Juarez Gallery and Greymatter Gallery Collaborative Project). Photo by Justine Lucas.

Elyse Lucas talking about the DIY Gallery component of the 365 Artists 365 Days Project. The DIY Gallery was conceived by Elyse. Photo by Justine Lucas.

Guest appearance by Katie Virag, featured artists from the 365 Artists 365 Days Project. Katie shared her experience as a featured artist. Photo by Justine Lucas.

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Running the Show: students curate Manitowoc art show

This exhibition features 6 Wisconsin artists from the 365 Artists 365 Days Project. Featured artists are Sara Risley, Sara Willadsen, Melissa Dorn Richards, Tonia Klein, Daniel Fleming, and Erica Huntzinger. This exhibition is based on the DIY Gallery: A Deeper Look into the 365 Artists 365 Days Project (A Frank Juarez Gallery & Greymatter Gallery Collaborative Project). This DIY Gallery idea was executed by Appleton art teacher, Elyse Lucas.
link: http://www.postcrescent.com/story/entertainment/2017/02/15/manitowoc-appleton-art-students-charter-school-curate-show/97894528/
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Appleton Career Academy art students curate professional art exhibition

img_0780Yesterday I had the opportunity to meet the students who have been working with Appleton art teacher Elyse Lucas on the DIY Gallery: A Deeper Look Into the 365 Artists 365 Days Project. About two years ago, Elyse attended one of my presentations at the Wisconsin Art Education Association Conference in Appleton, Wisconsin. The intent of the presentation was to create a sense of awareness about this project and all of the amazing artists Zina, Rachel, and I worked with. 

Elyse loved the idea, but felt that she wanted to introduce it in another way. A way that would be more relevant to her students. So she designed a curriculum based on the project. The curriculum walks her students through various stages of researching, collaborating, communicating, curating, and presenting their thematic ideas for organizing an exhibition. What I found to be interesting was the fact that her students created mock up galleries of what the exhibition would look like. 

As you know, plans change. Especially when you are in the physical space with real obstacles like installing actual works, gallery walls, lighting, etc. Regardless, I could sense excitement, nervousness, and ownership coming from these students. This exhibition is student-curated, which features 6 Wisconsin artists who have been featured in the 365 Artists 365 Days Project. They are Daniel Fleming, Erica Huntzinger, Tonia Klein, Melissa Dorn Richards, Sara Risley, and Sara Willadsen

Installation Day at Global Arts Gallery

If you go:

Location: Global Arts Gallery, 702 York Street, Manitowoc, Wisconsin 54220

Reception: February 11 from 1-4pm

Exhibition runs from January 30 – February 25, 2017.

– written by Frank Juarez, art educator/founder of the 365 Artists 365 Days Project


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First Run of the DIY Gallery: A Deeper Look Into the 365 Artists 365 Days Project in La Crosse, Wis.

On October 20, 365 Artists 365 Days Project founder Frank Juarez and Appleton art teacher, Elyse Lucas presented at the Wisconsin Art Education Association fall conference in La Crosse, Wisconsin. Elyse is a high school art teacher who attended last year’s presentation on this project at the WAEA conference in Appleton. Being introduced to this project resulted in her using the artist databases to inspire her students to create a series of mock up galleries using the artists’ artworks from this project. This was a great opportunity to work together and share the importance of bringing contemporary art inside the art classroom and providing her students with real life experiences. 

March 2-4, 2017 Frank and Elyse will be presenting the conclusion of this experience resulting in a student-led art exhibition at Global Arts in Manitowoc, Wisconsin (February 2017). This final presentation will take place in New York during the 2017 National Art Education Association Convention.

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