Whoa. I was in awe of this collection. I actually just voice - recorded everything that we discussed so that I could give the artwork my undivided attention. Later, I listened to the audio recording and took notes in my sketchbook. This definitely wouldn't be an option I would have to complete all of the Experience assignments we have because I do not often have the free - time to essentially re - experience a whole field trip. However, I was able to do so for the Try - Me Gallery, and it worked wonderfully. While on the field trip, I felt totally present in the impact of the artwork and what we were learning about it all. I could listen to the information we were being given and take it for its holistic value. On my own, though, I could pause the recording and jot down my observations and personal reactions to what I saw and heard. I had control over the organization of what I was writing, such as how I formatted my documentation of the artists we discussed and analyses of their works. To bolster my comprehension, I revisited www.try-me.org/ to find artists with whom I felt a strong connection. It was truly an immersive and awe - inspiring experience. The field trip itself was fascinating. It was difficult for me to grasp the fact that the Try - Me gallery is actually Pam and Bill Royall's (that is SUCH a cool last name) private collection. The infrastructure was beautiful and obviously very modern and up - to - date. The similar content of the pieces created a subtle flow, which I found to be truly beautiful; for example, the analogous commentary of Kehinde Wiley and Amy Sherald about African American culture forces the viewer to consider their meanings. I understand that pieces are similarly arranged in curated galleries and museums, but I think it's different when the pieces have been purchased simply for the pleasure of the owner. The Royalls have specifically chosen to permanently own these artworks because of the profound impact they have had, and that is wild to me. Like, just knowing that there was something so special about the monoliths by Mariko Mori or busts by Elizabeth King to these two individuals that they wanted to cherish them for the rest of their lives... it changed the way I looked at the art. It made Michelle Florence's iguana self - portrait / household object, or David Schnell's "Moment" seem more accessible; I wasn't as intimidated by them as I would have been in a more formal setting, I think. I don't quite understand it myself, in all honesty. Nearly everything about the Try - Me Gallery just felt right. For my work in the future, I am interested in exploring Titus Kaphar's shredding technique. I have always been drawn to textured works, and the physicality of the mass of butchered canvas contrasting with the well - crafted portrait excites me. I also noticed that it looked like hot glue held the shreds together, which for some reason amused me. Furthermore, I am encouraged to exploring all - over compositions and trying to keep the balance within this kind of work so that I do not subconsciously create a focal point. This is something I struggled with a bit during my AbEx piece, so it's just a challenge I'd like to work through in experimental pieces. Finally, I have been inspired to consider using wire or string inside of my apple sculpture. I like the idea of criss - crossing string so that it resembles a kind of web inside of the apple, spilling out of the hole and onto whatever baseboard / pedestal I decide to use. I will definitely have to more carefully consider these options, a task which feels both daunting and exciting. Artists / Works I felt drawn to:
Additional Resources: kapharstudio.com/ thesizesofthings.com/ richmondmagazine.com/topics/try-me-gallery/ www.styleweekly.com/richmond/power-arts-and-culture/Content?oid=11066500
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