Enquiry: Testing your Boundaries - LB

7th Jan - 9pm GST

Relation to you as a maker

maker->object<-audience - they find the object - perhaps its been left somewhere.

maker ->object->audience

maker-> object-> audience multiple and various - who are these different audiences - what do they consume? why do they consume it? placing 'objects' in 'boxes' - think about what all these things actually mean?

maker -> audience-> maker-> object-> audience - participation, interaction, workshop or creation, demonstration, commercial, commision, is it specific or random, is it audience generated or artist-generated, who takes ownership, does it become a collaboration, can input be claimed as collaboration, how much input makes it a collaboration, who is then credited, is it still the artists work, what happens with remuneration, what happens when its deemed successful or unsuccessful, where does it go during or after,

maker-><- object-> audience - manipulation of the object, is the maker the audience of the object, is the object being changed after its been released in to the world, has the work failed or was it inbuilt to the object to be changed/returned, does it change over time, series or not fixed over time, like a signature piece that is always related to you

maker->object-><-audience - maker releases the object, the audience then returns the object or participates in it, changes it, relational aesthetics,

maker->object audience
->audience - a different audience than expected, failure or success, a different type of success, changing the audience may be a part if the process, taking control and changing your audience,

maker->object->audience->maker->object - - experiment, audience inspires the artist to make a new object - communication, a type of rebellion, the object you really wanted to make but you needed to make the first object to lead to the making of the second object, a prototype,

maker->object->audience->maker->object ->audience---- iterations, a feedback loop with the audience, can you be the audience and the maker, can you be the maker and the object, could be insular,

maker->object->audience->object->maker - audience can affect the object and return it to the maker after it has been consumed, participation project, the audience changes the object actively but it is still attributed to the maker, does it have positive or negative connotations, scale of the audience has an effect on the object, triggering more making, supermarket capitalism?!

maker->object<-Audience - the first one? repeated? maker acts as facilitator for the project so the audience makes the artwork, who is in charge, the audience finds the object, is it another maker audience, public artwork, equal share with audience and maker, the object already has a relationship with the audience, serendipity, a moment, who would initiate the meeting or the be in control, it doesn't become an object until it is decided by someone that it is.

(triangle) audience<=>object<=>maker<=>
the fourth plinth - it already is an object but then commisioned to be added to and reviewed by a panel,
commision process - a conversation between audience, maker to create the desired object

maker<=> multiple audiences confined in to one circle - -- the object is missing, the audiences look different but they are the same, a conversation, podcast, panel, Q&A, a website, consumption of the artist themselves, art fair, pre-object, teaching, post-making, presentation, gathering of information,

maker<=> participants (in a large circle)----- performance, do you need an audience to make a performance piece, are participants making or are they sitting there?

maker-> participants -> objects------ workshop, teaching creation, artist studio, assistants, live moment and the object is the documentation, 4th plinth with Antony Gormley,

create a diagram that explains your relationship to your audience.

links to netflix handmade diagrams- get link from les for the diagrams - Limitless

my diagram was fairly simple in respect of reading whereas other members were very complex with a lot of links to various audiences, objects, makers and participants - did I need to add the threads? perhaps not but it felt right for me as the materials were next to the desk, if it was a digital diagram I would have created an animation, so express my desires and my thoughts. Why do I second guess the way I express myself - is this why I placed these distances in?

in break - make diagrams of the world we aspire to as a creative person -

How context frames an audiences reading of the work - see presentation shared by les

Context changes meaning or reading - ownership and territory,
systems and structures that mediate, how do we negotiate the senses, scale and reading of the work, Susan Vogel - the context of the display and how it is sited
museum - the difference between placeing wotk in a muesum than a library, the actions of a library or the people in the library, the gallery is a different aspect as you may get asked to 'shhh' or get followed by a gurd (my family) - the conventions of displaying artwokr - placing things on the floor which may have cultral connotations, or hanging (appearing within the gallery, with mystery, the wall (expected) or manipulted, the plinth - 4th and Mclean, the spotlight - to focus, highlight, define, The vitrine - the glass box, no touching, special, delicte, preserved, cased, The table - to sit around, domestiv, academic, to converse, an unrefernced table, The shelf - solitary, intimate, includeds a wall, back to the room, The HOME- (the moment when you relaise that an open studio will fufil the task), Within other systems - a camping situation, give and take, public arreas, public notice boards, cemetry, the space may have its own sense that could change the reading - what emotions doe the space bring to the reading of the work if palced in that area. The Artists book - intimate, revelation, sequences order control, video, pen drive, television (live transmission), online, Instagram, digital - monitor, digital - projection, New media - apps, (thought - to create an app that take s the lines from a image or the camera and transforms it in to the lines form, as you brush the screen it removes and fractures the lines down, holding a brushing will move them around, the more you touch the more it erodes the lines.) photography, documentation, Erwin Wurm - the action is the work, then its documented and that becomes the work, then getting people to reenact the work which is then documented, Process - , Performance, installation, Intervention - a space to work with, site-specific - steven willats, relational art or relational aesthetics, - context frames an audiences reading/understanding of work - how and where the work is experienced.

desert island disks, jermy della -