Scott Snaden

Peep Show: John Butler displays a pair of marshmallow Peeps while fellow artist Scott Snaden peers over his shoulder at the sugary treats on Wednesday. The two artists are getting ready for their art exhibit "Serving Suggestion by Just Born Marshmallow Peeps" which will open Saturday at the Lexington Hotel on Historic Route 66 and will feature artwork that depicts the different theories about the evolution of Peeps and also references a possible incident in Roswell, N.M.

Scott Snaden, left, and John Butler hang a piece of work for Snaden's show at the Machina Gallery Friday. The Machina Gallery is "under the Lexington Hotel" on West Route 66. Snaden's show opens March 5. (Photo by John A. Bowersmith/Independent)

The Coffee House, 203 W. Coal, will debut "Newman's Own Coffee, A Scintillating Brew," a show of new work by local artist Scott Snaden.

BOX

1. A genus (Buxus) of small evergreen trees or shrubs of the family Euphorbiaceas; specially
B. sempervirens, the Common or Evergreen Box-tree, a native of Europe and Asia; a shrub with deep-green leaves of a thick leathery texture. It is much used in ornamental gardening, esp. in a dwarfed variety (dwarf or ground box) for the edgings of flower-beds.

2. The wood of the box-tree, BOX-WOOD; much used by turners and wood-engravers.

3. Comb, and attrib.
a. attrib. Of box or box-wood; pale as box.
b. Comb., as box-bordered, box-like adj.; box-berry, the fruit (and plant) of the winter-green of America (Gaultheria procumbens)', box-edged
a., having a border of box plants; so box-edge (cf. quot. 1884 under 3a); box-elder, -alder, a North American tree, the Ash-leaved Maple (Acer negundo); box-gum Austral., one of various species of Eucalyptus (cf. c below). box-holly, a name of Butcher's broom (Ruscus aculeatus); box-slip, a slip of box inlaid in the beechwood of some carpenters' planes in order to give durability to the edge; box-thorn, .common name for shrubs of the genus Lycium, esp. L. barbarum.



BOX
1. A case or receptacle usually having a lid;
a. orig. applied to a small receptacle of any material for drugs, ointments, or valuables;
b. gradually extended (since 1 700) to include cases of larger size, made to hold merchandise and personal property; but (unless otherwise specified) understood to be four-sided and of wood.

d. Austral, and N.Z. A mixing up of different flocks of sheep
a state of confusion, and to be in a box, to be in a confused state of mind, in a quandary.

2. With various substantives indicating its purpose, position, etc., as bonnet-, cartridge-, coal-, collecting-, dirt-, hat-, letter-, light-, match-, missionary-, money-, pepper-, pill-, pillar-,poor-, sand-, savings-, snuff-, tar-, touch-box; also DICE-BOX, and with a more specific signification, fire-, smoke-, steam-box, etc.

3. In various contextual applications:
fa. The pyx or receptacle for the consecrated host;
f b. A surgeon's box, used as a cupping-glass (cf. BOIST);
c. A ballot-box;
d. A dice-box;
e. A letter-box;
f. The receptacle for infants at the gate of a foundling hospital.
g. A receptacle or pigeon-hole at a post office in which letters to a subscriber are placed; hence, a similar receptacle or the like at a newspaper office in which replies to an advertiser are placed, orig


For flower-painting never use what is technically termed 'box', viz.: the muddy colour..that is left on the sides of the colour-box from former usage
box-men (safe-blowers)

j. colloq. A gramophone, wireless set, or television set; spec,
the box: television; a television set. Cf. magic box.

The box, a coffin

4. a. esp. A money-box, containing either private or public funds, often with a defining wordb. transf. The money contained in such a box; a fund for a particular purpose

6. A box under the driver's seat on a coach; hence in general the seat on which the driver sits.
7. A box and its contents; hence a variable measure of quantity.

II. A compartment or place partitioned off for the separate accommodation of people or animals.
8. a. A seated compartment in a theatre, at first specially for ladies; often qualified, as, front-, private-, side-, stage-, upper-, etc. In pi. collectively for a distinct part of the auditorium.
b. transf. The occupants of the boxes; esp. the ladies.

9. A compartment partitioned off in the public room of a coffee-house or tavern
10. a. Short for JURY-BOX, WITNESS-BOX.
b. = CONFESSIONAL

11. a. Applied to an old square pew in a church, to a prison-cell, and the hinder compartment in a boat.
b. U.S. The station occupied by various players in baseball; esp. either of the spaces in which the pitcher or the batter stands.

12. A separate compartment or stall for a horse, etc., in a stable, or a railway truck. Also horse-box, loose box: one in which the animal is free to move about.
III. A box-like shelter; a hut, or small house.
13. a. A place of shelter for one or more men; as a sentry's, signalman's, or watchman's box; a sportsman's hiding-place while shooting.
b. spec, on the Railway. A small structure, generally on raised supports, from which the signals, switches, etc., of a section of a railway are worked.
c. Short for telephone box.
14. A small country-house; a residence for temporary use while following a particular sport, as a hunting-, shooting-, fishing-box

.
IV. Technical usages.
15. A case for the protection of a piece of mechanism from injury, dust, etc.
a. The case in which the needle of a compass is placed. Box and Needle
f b. The case (i.e. inner case) of a watch. Also the barrel
c. The case of a lock; also, the socket on a door-jamb which receives the bolt.
d. A group of aircraft flying in close formation
e. Mil. An enclosed area heavily defended in all directions
f. A light shield worn by cricketers to protect the genitals

16. a. A metal cylinder in the nave of a cart or carriage wheel, which surrounds the axle.
b. The case in which the journal of a shaft, axle, etc., revolves; a journal-box, a bearing
17. The piston of a pump; the case containing the valve; also the upper part of a pump-stock.
18. A cavity made in the trunk of a tree to collect its sap;
19. Printing,
a. One of the cells into which a typecase is divided
b. A space enclosed within borders or rules, esp. one to draw attention to a heading, an announcement, etc
20. Founding.
In sand-moulding, the case containing the sand in which the mould is made; a 'flask'.
V. 21.
a. Phrases, to be in the (formerly a) wrong box: to be in a wrong position, out of the right place, to be in a box (colloq.): to be in a fix, in a 'corner'. So to be in the same box: to be in a similar (unhappy) predicament
b. Austral, and N.Z. colloq. phrases: (one) out of the box: an excellent person or thing; (to be) a box of birds: (to be) fine, excellent
VI. Comb, and attrib. f
22. simple attrib. Belonging to a box or boxes; coming from boxes
23. General comb.:
a. objective, as box-maker, -making, -opener, -scraper, -setter, box-turning adj.
b. attributive,
(a) of a box, as box-lid,
(b) of the nature of, or resembling a box, as box-keelson, -lock, -stall, -stove, -stringer;
(c) pertaining to a box in a theatre, etc., as box-book (hence box-book-keeper), -circle, -lobby, -opener, -seat, -ticket; also box-like adj.
24. Special comb.: box-annealing vbl. n., a process of annealing in which the metal is enclosed in a metal box or pot to prevent oxidation; also attrib.; hence box-anneal v.; box-back a., designating a coat or jacket of which the back has a squared, box-like appearance; box-barrage, an artillery barrage concentrated on a particular 'box' or area; box-barrow, a barrow with upright sides and front; box-beam, an iron beam with a double web; box-bill (see quot); box-board (orig. U.S.), board suitable for making boxes; also attrib.', box-camera,
(a) (see quot. 1842);
(b) a hand camera of the form of a box; box-canon, -canyon U.S., a narrow canyon having a comparatively flat bottom and vertical walls; box-car U.S., a large closed-in railway goods wagon; box-cart U.S., a/cart having a box-shaped body; box-chronometer, a marine chronometer with gimbal arrangements like a ship's compass; box-churn, a churn resembling a box in shape; box-cloth, a thick coarse cloth material, usually of a buff colour, from which riding garments are made; also applied to the colour; box-club, a society for mutual aid in distress, a friendly or provident society; box-coat, a heavy over-coat worn by coachmen on the box. or by those riding outside a coach; box-coil, a heating apparatus consisting of a coil of straight tubes joined at the ends, and occupying a cubical space;
box-coloured
a., coloured by immersion in a box or tray of dye; box-coupling, an iron collar used to connect the ends of two shafts or other pieces of machinery; box-crab, a crab of the genus Calappa, which when at rest resembles a box; box-cutter, a person employed in cutting out the material for boxes; box-day = BOXING-DAY; also one of the days in the vacation appointed in the Court of Session (Scotl.) for the lodgment of papers ordered to be deposited in the Court«.); box-desk, a desk of a box-like shape; box-drain, a drain of quadrangular section; box-feeding, rearing cattle with each animal in a box or separate stall of the stable; box-fish, a name of the trunk-fish, Ostracion; box-fitter, a worker in an iron and steel foundry who attaches fittings and adjusts the parts of the moulding boxes; box-food, food which is given to animals in a box; box-frame,
(a) the enclosed space in a window-frame for sash windows, in which the balance-weights are hung;
(b) a frame or framework shaped like a box; also attrib.; see also quot. 1931; box-girder, an iron girder resembling a box, the four sides being fastened to one another by angle-irons; (see quot. 1865); box-grain, a grain given to leather in which lines are crossed in rectangular fashion; box-groove (see quot.); box gutter, a gutter of rectangular cross-section; box-hand,
(a) (see quot.);
(b) a person engaged in the manufacture or packing of boxes; (c) the compositor who sets up the type for stop-press
news; box-hat colloq., a tall (silk) hat; = BOXER4
1; box-head,
(a) an indented heading in a printed article;
(b) the freshwater squaw-fish, Ptychocheilus oregonensis; box-hook, a hook used to handle, close, or raise boxes; box-house U.S., a square-built house suggestive of a box; box-iron, a smoothing iron with a cavity to contain a heater; also attrib.; box junction, a road junction with a grid of yellow lines painted on the road forbidding the road-user to enter the junction area until his exit is clear; also ellipt.;
box-keeper, (a) the keeper of the dice and box at a gaming table;
(b) an attendant at the boxes in a theatre; so box-keeperess; box-key = box-spanner; box-kite,
(a) a toy kite having the form of a box;
(b) a kite invented by Lawrence Hargrave, of Sydney, Australia, consisting of two light rectangular boxes secured together horizontally, formerly used in meteorological experiments; cf. HARGRAVE;
(c) = box-kite aeroplane, an early form of biplane in which the arrangement of the planes resembled a box-kite; box-letter U.S., a letter placed in a private box at a post office instead of being sent out and delivered to the addressee; box-level, a surveyor's level consisting of a glass-covered box instead of a level and tube; box-loom, a loom with more than one shuttle-box at either end of the lathe; box lunch U.S., a packed lunch; box-man, a man who carries a box; box-master Sc., a treasurer; box-mattress = box-spring; box-meat, meat packed in boxes for transport; box-metal, a metallic alloy of copper and tin, or of zinc, tin, lead, and antimony for bearings;
box-money, (a) money collected in boxes;
(b) a payment to the keeper of the dice-box at each throw; in/?/, simply boxes; box-motion, the machinery for operating the shuttle-boxes of a loom; box number, the number of a 'box' (sense 3g) at a post office or newspaper office; box-nut, a screw nut with a closed end; box-ottoman, an ottoman (OTTOMAN n2 1) with a hinged upholstered lid forming the seat, with a receptacle below; box-oyster local U.S., a fine large oyster, formerly packed in boxes instead of barrels; box-plan, a plan of the boxes or seats in a theatre; box-pleat, a double pleat or fold in cloth; so box-pleatedppl. a., box-pleating vbl. n.; box-rent U.S., the charge for a private post office box; box-room, a room for storing boxes, trunks, etc.; box-seat, the driver's seat on the box of a coach (see sense 6); (in quot. 1838, a seat on the roof of an early type of railway-carriage); box-set, a theatrical scene closed in with walls and ceiling; box-shutter, a shutter that folds back into a box, also called boxing-shutter; box-slater (Zoo/.), a name of the genus Idothea of Isopods; box-sleigh, a sleigh with a box-like body; box-spanner, a spanner with a socket-head at one or both ends which fits over the nut, etc., to be turned; box-spring, one of a set of spiral springs contained in a box-like mattress frame; box-square, a metal-working tool used for marking parallel lines on round shafts; box-stair (see quot.); box-staircase U.S., a closed staircase; box-staple, the staple on a door-post into which the bolt of a lock is shot, when the staple is so shaped that it covers the end of the bolt; box-stone Geol, a rounded piece of brown sandstone containing a fossil; box-strap, a flat bar bent at right angles to confine a square bolt or projection; box-string, a string-board of a staircase in which the ends of the steps are entirely boxed in, also called close string; box-swivel, a swivel designed to prevent a fishing-line from tangling; box-tail, a box-shaped stabilizer of a biplane; box-tappet, a cam for working the shuttle-boxes of a loom; box-tenon, a tenon at an angle; box-timbering, the lining of a shaft with rectangular plank frames (Raymond Mining Gloss.); box-toe, in boots and shoes, a toe with a stiff, strong lining; box-tool(s, an attachment to a lathe consisting of tools secured in a box-shaped holder (Lockwood); box-top, the top of a box; spec, a voucher attached to the packaging of groceries, etc., which offers a free gift or comprises part of a special offer; box-tortoise, -turtle (see quot); box-trap, a trap, shaped like a box, used for capturing animals; box-tricycle, a tricycle with a box in which articles can be carried; box-valve, a short rectangular section of a pipe, containing a valve; box-van, a van with a flat roof; box-wagon,
(a) U.S. — box-car;
(b) an open wagon with a box-shaped body;
box-wallah (Anglo-Ind. see WALLAH)
(a) a native itinerant pedlar in India;
(b) a shopkeeper, retailer, or business-man; box-wrench = box-spanner. Also BOX-BED. 1929 Jrnl. Iron & Steel Inst. CXX. 483 Normalised sheets command a much higher price in the United States than material which has been *box-annealed


Add: [1.] e. The female genitalia. slang (orig. and chiefly
N. Amer.).
1'I believe Leila's
running hot in the box,' said Sadie. 1963 'J. PRESCOT' Case for
Hearing vi. 96 And when you do take 'em out for an evening
here's no holding 'em. As for putting one in the box, in my
opinion most of'em want it to happen.

box, n2
 colloq. outside the box: outside or beyond the realm of orthodox, unimaginative thought or conventional practice; usually in to think outside the box: to think creatively or in an unorthodox manner. Also out-of-the-box: creative, original, unorthodox. Similarly (occas.) inside the box.
 With allusion to a puzzle in which the aim is to connect the nine dots of a square grid with four straight lines drawn continuously, without pen leaving paper; the solution is only possible if some of the lines extend beyond the border of the grid.

The attempt to decipher art inevitably leads us down a path of narrow minded “vision” and an almost pointillism of mentality. Suddenly we find we have defined ourselves into a corner, and no more room exists for interpretation, opinion or growth.

Once I wrote a poem about that…but that is irrelevant

People who specialize in such activities are called critics and they attempt to push their interpretations down the throats of those around them so that digestion can begin before the consumer begins to think for themselves.
I find the activity offensive.
None the less, I will now attempt to interpret these works and the career that spawned them for you. OF Course I Am a Critic, I am an artist and a human.

As such I exist in a boundless universe.

Logically speaking, in a cosmos that extends endlessly in all directions the center can only be defined as within the contemplator, thusly I am the center of my universe, I Am The Center Of The Universe,
and the art, its meaning, and even you
must revolve around me.

Galileo was a fool.
We are all the center of the universe we inhabit.

I am getting of topic, back to the art.
My earliest memories are of life…
not my life, but life in general,
people animals, grass and bugs.
Positive and negative memories.

As such you may accept your credit for the work, being a living organism. Because Everything can be traced to those early experiences, positive and negative, and as a body revolving around me your gravitational pull had its effect.

You are the inspiration, just as headlights are the inspiration a deer needs to turn itself inside out on the hood of a car, like chocolate is the diabetics inspiration to slide into a hazy, swollen, early grave…

but now I’m speaking as if stagnant in a pool of the present. Of course life flows like the river ocean and positive inspirations also had a strong effect. But existing in the present can make the past and future appear inconsequential, possibly even be inconsequential, in Fact I have trepidations as to whether the past and future exist at all. But the present still, I believe, must be seen as sequential, and all influences deserve their credit.

And life, is most defiantly a horrible and beautiful thing. It must be, as it is the totality, life consciousness, thought, belief, desire, experience,
Pick your term.
It is all the same in conclusion.

And in a round about way I am now back to the topic at hand…Art, specifically my art. My life. More directly, my work is the restructuring, reworking of my experience, an attempt at analyzing and defining the satellites and planets and asteroids revolving around me and crashing into me.
It is an attempt to demystify the most mystic of all things, consciousness. It is a rewriting of the imaginary past and future to make it live (perhaps again) in the present and allow some sort of understanding.
Perhaps it is creative, perhaps a revisitation of stolen moments, stolen from the me of yesterday and tomorrow.


To close this I would like to refer to one of those past experiences, a memory handed down to me from scott the child.


When I was very young, 4 or 5 years old I was living with my family in Zambia.
I had been given some medicine for something (I don’t remember what and it doesn’t matter). The important part is that I had an allergic reaction to it and, as a result, temporarily lost control of my voluntary muscles. I was outside at the time, with my care taker Charles, an 18 year old Zambian. I remember slumping and falling into the dirt path we were walking on. I couldn’t move, or speak. But my senses of sight sound and touch were unaffected. Charles was panicking, he had no idea what to do, and after a few minutes, decided he should run to the house next door and get the doctor who lived there.
He was probably gone less than a minute, I’m note sure, before returning,
But that few seconds,
as I lay on the ground helpless,
alone,
vulnerable,
not even able to look behind me…that is what I remember the best, That feeling.
It’s a feeling that still visits from time to time.

Lights and Sound Self-illuminating Artwork,
1995
Douglas School Galleries Murphysboro, Illinois
People's Art Show
1995
Douglas School Galleries Murphysboro, Illinois
Graduate Student Exhibition
1994
McLauren Gallery, Winthrop University Rock Hill, South Carolina
The 15th annual Pee Dee Arts Council Exhibition,
1994
Florence Museum Florence, South Carolina
Union of Student Artists Juried Exhibition,
1994
McLauren Gallery, Winthrop University Rock Hill, South Carolina
In Three Dimensions, Florence Museum's Sculpture Invitational
1993
Florence, South Carolina
Earth Art Exhibition
1993
Sawtooth Galleries Winston-Salem, North Carolina
Recent Works Exhibition
1993
Queens College Gallery Charlotte, North Carolina
Birdhouse Show and Sale
1993
Habitat for Humanity Greensboro, North Carolina
The 14th Annual Pee Dee Arts Council Exhibition
1993
Florence Museum Florence, South Carolina
Graduate Student Exhibition
1993
McLauren Gallery, Winthrop University Rock Hill, South Carolina
Painting and Sculpture Exhibit
1992
Mclauren Gallery, Winthrop University Rock Hill, South Carolina
Union of Student Artists Exhibition
1992
McLauren Gallery, Winthrop University Rock Hill, South Carolina
NASAD Exhibit
1992
McLauren Gallery, Winthrop University Rock Hill, South Carolina
The 10th Annual Pee Dee Arts Council Exhibition
Florence Museum Florence, South Carolina

Reinterpretation for commercial purposes
1/04/ 2006- 3/04/ 2006
Primal Image, Gallup New Mexico
Thinking Inside the Box; new work from Scott Snaden (in a box)
10/01/ 2005- 11/04/ 2005
The Machina Gallery, Gallup New Mexico
Newman’s Own Coffee ; Coffee Inspired art
9/03/05-10/01/05
The coffee House Gallery, Gallup New Mexico
The retrospective; Childhood revisited by Scott Snaden
6/04/05-7/02/05
The Machina Gallery, Gallup New Mexico
The Peep Show; Installation and performance By Scott Snaden
2/06/05-3/05/05
The Machina Gallery, Gallup New Mexico
Entropic Games; Scott Snaden simple and complex
11/07/04-12/05/04
The Machina Gallery, Gallup New Mexico
Meditation, a Solo Exhibition,
1995-1996
Java Coffeehouse Carbondale, Illinois
Hovering Cement, Solo Exhibition,
1994-1995
Longbranch Coffee House Carbondale, Illinois

Scott Snaden was born in Scottsdale Arizona USA, in November 1966. Soon after, at 6 months of age his family moved him to Nigeria where he was weened on the Biafran revolution.
Through the 60's and 70's his family moved on the African continent before returning to the US empire just before 1980.
He remained in the USA threw high school and began university in South Carolina studying philosophy and religious studies. However his interests began to change and philosophical activity began to seem like masturbatory exercise with no climax.
Art offered that voice he was seeking, if not an answer, at least a means to comunicate these ideas that swirled around us in a way both more assessible (it seemed) and less stagnant than threw stale white discourse.
He changed to a double major, of Philosophy and fine arts.
After university Snaden Spent a year in South Korea, Then on to Mexico for a year. Finnally he spent 5 years in the Federated states of Micronesia before returning once more to the USA and settling, at least for now, in New Mexico.

Artistically snaden began sculpting in concrete, mostly large figurative work, however after completing his education, entropy and movement forced his aestetic into smaller and lighter modes.
Korea brought about the use of plastics and manipulated objects, which remained intill the present. But the relative stability of Micronesia nad The Us gave rise to larger more complex work, that combined found and manipulated objects with more traditional sculptural methods in the same piece, a sort of assemblage.

preliminary study plan


As a student at Goddard College I would like to use the knowledge and experience I already have as an artist as a platform from which I can delve into new artistic areas a themes which I have only just began to touch on in my work. I think the experience would provide me with the time and support structure I need to allow these ideas to blossom, and perhaps wither, following their own natural life cycle, to their conclusion.
From my current position artistically, coming to the end of my series of works “post historical tools” I would like to see a merger of the ideas this series explores with the structural and visual complexity I am often drawn to. This complexity, or perhaps chaotisism can be seen in my “post Dada expressionist” pieces. At the same time I would like to explore the ideas of mechanization more fully, working towards something I am thinking of as a Post Industrial Utilitarian aesthetic.
I have touched on the Ideas I am interested in pursuing in both the series “post historical tools”, where I explored the idea of a useless utilitarianism and in the installation “Pentatopia Ma, the trinity in the fourth dimension”where mobile and mechanical objects required audience interaction in order to attain their actual aesthetic presents.
During my time at Goddard I world like use these concepts to focus attention on the differences and similarities between a working class industrial aesthetic and High art. I would like to pull objects from the Low side of the art world tracks, manipulate and return them to their place on the street, for a start. Then push them back into high art realm
In considering the direction of this project I feel vehicles are the place to focus my attention. In modern American culture the vehicle, of all machines, holds the place of honor. It is romanticized , personalized and very often personified. It is, in general , perceived as a reflexion of the owner, often as an extension of the owner. (On a side note in the same vein, I have had Navajo friends in the four corners area of New Mexico, who would refuse to sell broken or old cars, for any amount of money, likening it to selling a parent who was beyond working years, or a sick sibling)
Modern people have a feeling of kinship with their vehicles that exists with no other machine in their lives. It can function as a mobile safety zone of personal space, and outward expression of self to the world, and even to some a friend. There is often a spiritual connection owners have with their vehicle. Perceived or real, it has an emotional power.
Taking this powerful starting point of the perspective many have already assigned I would like to re purpose the vehicle. Not in the traditional sense of ART CARS, which so often simply use the car as a canvas on which to layer art. I would like to re or de purpose the entire thing, leaving instead a functional object that does not meet the requirements of it's original or any other utilitarian intention. Mechanically I want it to function, but it's utility should be questionable at best.
As The objects are completed I would like to reintroduce them to the public in a variety of ways. I see them parked in parking places along streets, in auto shows, for sale in auto trader magazine, and craigslist etc. I want to document this reintroduction in a variety of media including writing, video, and photography. I would also like to introduce them in a gallery situation, as as static art objects alone, again documenting the response
Finally For my final practicum I would like to present the objects in there fully functioning non utilitarian form, starting, them if necessary, using them if possible, as working Non Machines. Incorporated with this will be the the documented responses to them as objects in their various previous contextual surroundings.
I will need to hone my welding and mechanical skills some to see this project threw. I intend on taking at least one welding class. As an amateur mechanic I think reading and studying vehicle specific books and wire schematics will suffice in that respect. Possibly research and some study on radio controls and electronics may also be necessary, depending on how the projects develop.


Resource List

A short list of artists that I find interesting
Doug Fishbone
Kiki Smith
quiet ensemble
Wim Delvoye
Santiago Sierra
Billy Childish
Leon Golub

Books and Literature

Of Grammatology (1967) Derrida
I think gaining a fuller understanding of Derrida's concepts on the separations and differences between the idea, written word and spoken work and their non relationship, will be an important part in understanding the visual metaphors I am trying to present and deal with and their relationship to the thoughts and verbal descriptions that seem to accompany them.

Avant-Garde and Kitsch Clement Greenberg

The Social History of Art Arnold Hauser

Welding Basics: and Introduction to Practical and Ornamental Welding Karen Ruth

This is a very preliminary list which I am sure will grow as the project proceeds


Web Resources
postmodern_delusions.htm

art_20th_century/modern_art/kitsch1.htm


home.html


streetuse/archives/vehicles/
index.php/tech-gadget/feature-homemade-self-balancing-vehicles
~sobriety/
/history/useless.html
klubhouse/tips.html
2009/09/10/insane-prisoner-inventions-24-diy-prison-tools-weapons/

This Is a wonderful source of information and inspiration,. Great pictures and a wonderful view on what is happening around the western world in terms of the utilitarian vision of function/beauty. It even includes a picture of a completely utilitarian bike I built out of a rusted shell I found in the islands when I lived there. rat-tech.php. It was ugly noisy and slow and got me to work every day. The tech section will be especially helpful and informative in my proposed endeavor.




Other Resources

Ben Lewis: Ben Lewis is an art critic for the London evening standard and writes an art column for Prospect magazine.
I do plan to pursue a class in welding at a local technical school, or receive some private instruction.

Although the following are not necessarily the traditional texts that would be used in a visual arts MFA course of study, I find that I am often very inspired by poetry and poetic metaphor. Much of my inspiration and ideas spring forth while reading or listening to poetry. This is a short list of a few of my favorite authors and Styles in this area.

Billy Childish. In my mind the most important living poet, and an incredibly prolific artist.
Kenneth Patchen (predominately the book “wanderings”. It is a book of poetry and sketches
Jack Kerouac ( Although I enjoy his novels I find his poetry specifically inspirational)
Prakalpana literature and Sarbangin magazine (Bengali publications of prakalpana writing and art)


Music
Music is also a strong source of inspiration. I use both strong lyric based music,such as Tom Waits, Billy Bragg, Joe Pop-o-pie, Woody Guthrie to name a few
and a variety of noise/music from Coltrane to Ruins to both focus my thought and maintain a working mind set.

 Best in Show, 1992 Winthrop University 4th Annual Undergraduate Juried Exhibition Rock Hill, South Carolina
 Purchase Award, 1992 Winthrop University 4th Annual Undergraduate Juried Exhibition Rock Hill, South Carolina
 Achievement Award, 1992 Winthrop University 4th Annual Undergraduate Juried Exhibition Rock Hill, South Carolina
 Best in Show, 1992 Arts Council of Chester County 17th Annual Chester Art Show Chester, South Carolina