The Midwest Artist Studios Project has spent the past three years traveling the Midwest interviewing 24 artists from 18 cities/towns. This project has been such a joy to create and to see how these artists have touched the lives of art students through online interactions, emails, and social media.
One of the areas we pride ourselves in is staying in touch with these artists and hearing what they are up to these days? For the next two-months the MAS Project will be spotlighting one of our 24 artists by sharing with you what they are doing in their studio as well as in their communities.
All three of our MAS publications are now available online.
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2014 MAS artist from Wisconsin
MAS: In what ways have you benefitted from your participation in MAS?
JO: I went up for Indefinite status (a tenure-like review process for Teaching Academic Staff) in my job at the University this past year and having the involvement in MAS and the publication exposure was good for me in that regard.
I have also gotten to know some new artists being a part of a cohort of artists who are committed to supporting art education.
I was a nice little shot in the arm for me in terms of my studio work, documenting my process, stepping back to think about what I do (step by step) and how I do it, was opportunity for reflection.
MAS: In what ways has your work and/or working environment changed since your MAS interview?
JO: My work has grown and my working environment has contracted (due to state budget cuts to higher ed) while the work load has increased intensely. So carving out time to do the work has been more difficult. But MAS involvement has helped me to make that more of a priority.
MAS: What is one thing you wish you’d said in your original interview, or what is the one thing that you hope the MAS audience remembers about your and your work?
JO: I think that the MAS interview and project focused more on assemblage and box structures, because of the piece that I was working on at the time. But my work is also really informed and driven by a very basic human collage impulse that is connected to/the visual equivalent to poetry making. I also use printmaking processes as a way to make marks along with other approaches to mark-making.
I believe that poem writing or visual poetic object making will have an increasing relevance in these wild times of confusion, disbelief, change and upheaval.
Visit Josie’s website to see more of her work.
All images copyright of the artist and used with permission.