professional practice plan

Friday 12th April 2019: PPP - Feedback.

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screenshot of plan part 1

screenshot of plan part 2

I decided to reformat my PPP, I felt like a spreadsheet was easier to read and allows the comparison between each year to show its development.

Feedback from CW:
PPP is well set out
reflected effectively on previous version
brought up to date and allows usefulness going forward.

impressive list of online databases, networks and platforms
noted “Online platforms have been utilised but not to full potential due to time constraints.” Perhaps better served to limit the number to the most relevant and concentrate on keeping them active and useful.

Research collaboration possibilities with a neuroscientist, or a textile manufacturer, fellow artists, and/or a designer. Perhaps one of will develop naturally if the context and situation is right.
Be open to potential opportunities but do not over commit.

Mon, 25 February 2019 - Professional Practice seminar - CW

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Professional Practice seminar - CW

PPP and audience -

reference to Docherty and the white cube - is it enough to make work for the self, is it important that work is made for people or space - how is it encountered, does it need happenstance, or planned to view -

White cube - the audience - spectator, viewer, observer, perceiver - I tend to say, consumer -

CW- list - witness, observer, audience, participant, spectator, perceiver, viewer, collaborator, partner, conspirator, - the consumer - investigator, invigilator, instigator, the enquirer

peer, look, study, dismiss, power struggle -

How is the audience perceived with he works

how is the work seen

how does the display of the work affect it

15 mins in a breakout room to discuss the audience for our work and what the other person thinks - alternative audiences and ways to engage with them. analyse what role they are taking

Break out with Mark, which is great as Les had suggested I talk to him about the work.

we discuss the projection of work and he suggests. pocket-sized projectors for a phone - Samsung - luminaire phone - will look in to this.

both of us are currently working on the unintentional audience. On producing work/displaying work where it will be happened upon or where the choice of consumption is removed from the audience as they will encounter it unscheduled to them. WE discuss how i may display my work, possibly through the school the newsletter and other published or accessible forms. Then we discuss the lack of access, projecting it into a sealed box or a room that's locked - a sign that says in this room is a video but you can't go in. a non-audience - deliberately not allowing it. the daylight and throw windows and into a room from the outdoors - people will see the projector, they are aware of the happening but perhaps not the work. the visible and the non-visible - when it's happening in a contained room they are aware of it, but when the source is moved outside it creates a new sense of audience - the layers - don't plug it in or leave the lens cover on.

doesn't feel like its art - to busy doing masters in fine art to do the art you want to do.

guerilla audience taking - how to get an audience without having to ask for one. the work has been put to the side to create work for the task, its lead to interesting work but not that was expected. un intention audience - but it is intentional for us as artists, but their consumption is unintentional to them.

accessibility - exclusivity - engagement - comfort and awareness - authenticity and it does the same job if the job is an engagement or a change in thinking - the art world has an exclusivity - self-importance -

not making claims about the work - that we as makers make connections that others don't see - the potential to make a claim that appears unsubstantiated - what the work is about and what is actually visible etc. Where language sits with artwork, how artwork reaches people and its cloaked in the text.

the first audience is the person assessing the open call/ exhibition selection.

how do open calls help move an artist practice - what do they bring to the work, the career, etc

doe it enables the production of work, dies it refine medium or practice - explore boundaries - medium specificity - theme specificity - how to apply to and gain feedback from an open call.

PPP - 1000 - 1500 words - including last years words.

career plan - summary and map of practice - one year ahead, three years head, 5 years ahead. - dreams aspirations - realistic,
identify networks, need for skills or facilities, appropriate ways of presenting other professional considerations
work back into it in a different colour for this year -
be honest - where you are, where you want to be, etc.

reflection of Testing boundaries- - what do we take away, did it work. Would we continue, what would we keep. how have we changed etc. what have we learnt and have we found a seem of investigation that is burgeoning etc.

25/03/2018 - Professional Practice Plan: UPDATED

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NEED TO DIVIDE INTO 1 YEAR, 3 YEARS, 5 YEARS ETC....Profile Katie Venner-Woodbridge (b.1982, London, U.K.) is an interdisciplinary artist living and working in Dubai, U.A.E.  She graduated with a BA(hons) in Textile Design, followed by a PGCE in Arts Education and is currently completing her MA in Fine Art. Venner-Woodbridge’s work explores the ways in which pattern and routine facilitate human life, but also the ways in which breaking sequences and systems can provide both opportunity or discontent. It challenges the boundaries between beauty and awkwardness, and between manageable quiet spaces and the uncomfortable containment of chaos. Venner-Woodbridge is a member at Tashkeel, Dubai, participated in Campus Art Dubai 2017-2018 and exhibited in various group shows in both the U.K and U.A.E.Personal DevelopmentAction points before submission:Business card - important for networking in Gulf region.CV – relevant to art http://katievenner-woodbridge.com/pagecv/Website – katievennerwoodbridge.comSocial media links:Instagram used most often and most comfortable with.Facebook used to share articles occasionally, and Instagram posts are shared automatically.Pinterest used for ideas and resources. Yet to share my own work on the platform which I aim to do as I have a large audience in this occasion.Twitter not used. Can link to both Facebook and Instagram but have yet to.Behance run by Adobe, not used at the moment. I am aiming to share more commercial work such as repeat patterns and illustrative work.Dribble design platform similar to Behance. Profile is set up but currently not used.Research further on how to develop these profiles and online presence, which to develop and why - attended Dubai Lynx, 11-14 March 2018, a creative industry event which was exclusively aimed at the advertising and marketing industries. It was useful to see the ways to use social media to develop an audience, develop interest and possible sales.Online sales and promotion: Drawdeck founders based in Dubai, had a few sales from the platform. Need to send updated and larger files to the site to promote sales.Society6 work is uploaded but no sales generated.Redbubble account is activated but I have yet to upload work.Pattenbank  account is activeted but need to apply to sell which I have yet to do.Residencies and programmes:Critical practice programme at Tashkeel: funded opportunity. Applied March 2018, will announced the participants in April or May 2018. Three or four participants are selected to be in residence at Tashkeel with the support of selected mentors and use of studio space. Programme is designed to offer developmental and critical support to existing emerging practice.Apply for residences and open calls which are outside of the gulf. Look in to and enter international open calls, residences, and proposal for gallery; making sure its right for my work, that they are interested in the work you make. Use following resources: ResArtis (http://www.resartis.org/en/) — Axis (https://www.axisweb.org/) – AN The Artists Information Company (https://www.a-n.co.uk)Complete MA - most importantlyCommunity Future plans – applications:Sikka - art fair in dubai, runs parallel to Art Dubai but not as commercial,Artist In Residence (see above point)Postsecret (how do I get in?), what programmes are similar?Critical Dialogues - continuation. The group have opted to close and not open to new members so becoming a cohort in itself. The next session will start in September 2018 with a syllabus of feminist texts and works relevant to feminism both globally and in the MENA region. The goal of this term is to continue building our rapport as group and work on a piece of writing together, a Manifesto.Campus Art Dubai Core 6.0 Oct 2017-Feb 2018, 'graduated' at Art Dubai fair in March.Project Space M Proposal, - consider as location for installation piece if work is becoming large scale.Acquire an arts related job for stimulation - applying for arts facilitating and art teaching jobs as they appear.Research Proposal for ProfDoc -not a current concern.Proposal has already been written and submitted, feedback gained. Explore research further and make it more specific to arts, consider making it more focused; a smaller question. Contact tutor on course as she has offered mentorship regarding future application. Feedback has already been very promising and was considered for supervising team. PHD may be a better option, as it is research heavy and not practice based. Prof doc – what’s the purpose? What will it give you? Year 3 contextual study will become proposal.Reflection Don't lose myself in the list of accomplishments or things to do. Maintain creativity and joy in work.Need to put in time frame and concrete goalsBe aware of personal needs and development deficiencies.Utilise help availableHave more confidence in what your doing and don't stop due to lack of confidence.Practical Issues Finances,location,access,family,TIME,career and availability of time and resources while managing job and family.

19/02/2018 - Professional Practice Portfolio, Drawing on Visual Methodologies & Asynchronous Seminar

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see slide show that goes with this: https://drive.google.com/file/d/1RP_9NbY0r47wbWSavykg30__mfNi95VQ/view?usp=sharing1:Asynchronous seminar:a debate/discussion that happens in writinga text/prompt that sets out the subject of the seminarpost at least twicebe considerate towards others,keep them short: not essays - key points for discussion, think about it as if verbalopen until 17:00 hours on 2nd marchcopy and paste the discussion at the end to keep as it's a good resource2:PPP - slide 6 in presentation:Professional Practice Plan (PPP)a career plan or development plan as an artist. perhaps career, or high profile as an exhibition artist or further study.Each year the word count increases, it is assessed and added to each year.its a fluid document, its going to change and thats not a problem. Its a good thing if you are adapting and changing.From the slides:A working document that starts in year one and continues until you finish study. It is intended to act as a career plan, it is continually revised and kept current over the length of the course.In year one, the PPP is between 500 – 1000 wordsSubmitted for assessment in June 2018The plan should be written to include the following, which should be used as a guide and is not exhaustive:A summary of your practice in professional terms.A plan that sets out your aims for one year ahead, three years ahead and five years ahead. It is about dreams and aspirations, but  should be realistic. -+ how will you get there? what do you need to do to get there? think about the methods and requirements. What steps make things possible?+Includes identification of networks, notes on skills needs or facilities acquisitionLists appropriate ways of presenting your practice (e.g. website) public profile, what will work for you. social media, website etc or perhaps you are analogue, zines, postal, books etcEach year the plan is re-worked, amended and added to.Possible formats:Chart, - tables- spreadsheetsPlan, or mapDiagram, colour coded etcMap,A body of text, narrative, like a proposal, punctuated with key points etcColourful/different fonts/tracking method, - to distinguish each year, to show the progress like I do on my mind maps and sketchbooksLinks, references, illustrations, - things that are useful, perhaps programmes etcBusiness document. - this is more of a business document - a proposal and business plan.Book a tutorial on monday 5th march - these are pop - have a draft ready, not refined or finished but something to base our discussion on friday 2nd march before the session.share on journal or on shared drive, it's up to you. eventually on the journal.3:Visual Methodologies - Gillian RoseDiscourse Analysis IIWe all have different views because we are different people and bring a certain baggage with us the influences our subjectivity.How is this work framed... what bias is pushed upon us.Group discussion: responsesWhat are your responses to Rose's writing on discourse analysis II?unnecessarily academic, and tedious links but overall useful if somewhat 'obvious' towards the end.it feels quite outdated as it doesn't reference technology/social media/websites etc which is now a very active part of institutional discourse. There are a lot more exciting opportunities for viewers to interact and view work now.It also highlighted the dominate role of a museum so it has opened up the dialogue around that. It's created and increased personal awareness and how dynamics work between different partners in art exhibitions.discussion regarding the power of relations between artist/curator/public/press/critics etc. How the works are chosen? are they picking works that fit in to programming or things they believe are already interested in. is it trend led i.e.: the shows regarding artist that have been banned from travel in the states.How much of an exhibition is about the curators personal taste, research driven or about the public and footfall? Acknowledging the bias and privilege and making sure that it is highlighted and bringing in the people with the experience and knowledge.How do you define a good curator? do they have their own motives?Did Rose's writing change anything for you as an artist?Points that were already in the conscious,its important to consider the context that your work is going to be shown, and how it is created.what your role is as an artist to manipulate and select your own environment, where you wan your work to be displayed and who see it. Whether the systems in art galleries etc are relevant to your work, or that it might not be suitable to be experienced outside the 'white cube' etc.How does this approach relate to our artwork?The artist has some responsibility to make artwork for and decide the end destination, who and where they will see it. You can influence control over this aspect. So the artist as curator, initially.when the artists becomes a curator, the traditional responsibilities of a museum, will transform to the artist's responsibilities. So the artist for instance should be reflexive, although that lack of reflexive, is one of the weak parts of the discourse analysis IIThe right to speak about certain discourses, being aware of your genres and bias, how you are read as an artist and whether you have the knowledge/experience/heritage to discuss the narratives of certain types of work. Being aware of cultural appropriation. Conflicted opinions regarding this, whether this can be restrictive or not to one own practice.

IN PROGRESS - Professional Practice Plan - timeline

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Deadlines:Monday 19 Feb: Visual Methodologies SeminarMonday 5 March: Tutorial CWMonday 14 May: DEADLINE FOR SUBMISSION13 weeks.....Professional Practice Plan (PPP)A working document that starts in year one and continues until you finish study. It is intended to act as a career plan, it is continually revised and kept current over the length of the course.In year one, the PPP is between 500 – 1000 words. Submitted for assessment in June 2018.The plan should be written to include the following, which should be used as a guide and is not exhaustive.1.A summary and map of your practice in professional terms.2.A plan that sets out your aims for one year ahead, three years ahead and five years ahead. It is about dreams and aspirations, but needs to be realistic.3.Includes identification of networks, notes on the need for skills or facilities acquisition, appropriate ways of presenting your practice (e.g. website)Each year the plan is re-worked, amended and added to.Headers for document:Profile BIO: Katie Venner-Woodbridge (b.1982, London, U.K.) is a conceptual mixed media artist living and working in Dubai, U.A.E. Venner-Woodbridge’s work explores the ways in which pattern and routine facilitate human life, but also the ways in which breaking patterns and systems can provide both opportunity or discontent. Through disassembling and reassembling patterns, her work examines anxiety and disruption as both positive and negative forces. It challenges the boundaries between beauty and awkwardness, and between manageable quiet spaces and the uncomfortable containment of chaos. Venner-Woodbridge has exhibited in various group shows in both the U.K and U.A.E.Personal DevelopmentBusiness card - important for networking in Gulf region.CV – relevant to artWebsite – katievennerwoodbridge.comSocial media links – insta, behance, twitter, fb, pinterest, dribble, blogs - how to develop them, which to develop and whyonline sales and promotion: society6, drawback, redbubble, pattenbank etccritical practice programme at tashkeel: funded opportunity.apply for residences and open calls etcComplete MA - most importantlyCommunity Future plans – applications: sikka, , Artist In Residence, research, postsecret (how do I get in), Critical Dialogues, CAD6.0, Project space M Proposal, JJ proposal residency, arts related job for stimulation.Research Proposal for ProfDoc - explore research further and make it more specific to arts.consider making it more focused. a smaller question. Contact tutor on course as she has offered mentorship regarding future application. feedback has already been very promising and was considered for supervising team.Reflection Need to put in time frame and concrete goalsbe aware of personal needs and development deficiencies.utilise help availablehave more confidence in what your doing and don't stop due to lack of confidence.Practical Issues Finances, location, access, family. TIMEself-doubt.career and availability of time and resources while managing job and family.

28/11/2017 - PPP - Professional Practice Plan - the beginning

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'Exhibitions have become the medium through which most art becomes known'

Ferguson, Greenberg and Nairne in The Curatorial Turn: From Practice to Discourse, in O’Neill P, Issues in Curating, 2007

Is this something you agree with? I do not agree with this. There are so many forms and avenues for art to be created and shown, experienced or explored. 

What do we need to enable us to continue to practice? A space or some space, a nook or corner may be enough; time, perhaps a tea break or an entire day dependant on your circumstance, materials or means to produce; most importantly ideas and passion, enthusiasm, love, mania, fascination, obsession, fanaticism, fixation, compulsion, appetite, interest, addiction.

Who are the professionals we may encounter? Gallery owners, managers, marketers, curators, agents, critics, writers, academics, educators, studio mangers, artists, designers, performers etc

What do we understand of their roles? Most peoples role is to make money (cynical I know), broaden awareness of the arts and artists (possibly genre specific, cultural specific etc), fulfil proposals, create proposals, facilitate shows, generate footfall, embrace movements and trends, facilitate community, educate.

How do we define a professional practice? As an artist is largely depends on your personal goals, but I feel a professional practice can be defined by communication, visibility, building relationships, representing yourself and your work, producing and exhibiting work in a format that suits, possibly participating in residencies, commissions, collaborations etc

What does a successful practice look like? Such a loaded question. I would say it is one that fulfils its goals, is focused and evolving. 

Presentation, Practising and Making - A list of ways to practice, make and present art, compiled by MA1 students, 06.11.17

  • Galleries
  • socially engaged practice
  • site specific work
  • Digitally, networked (online)
  • Reading groups
  • Critique groups
  • Artist led support groups
  • Studios, shared spaces,
  • events (both public and private)
  • Talks
  • presentations
  • performances
  • Collaboration events - with brands, or businesses
  • Commission - public, private, joint ventures, self-funded
  • Art markets,
  • Scholarships, internships, fellowships, grants, awards
  • Workshops,
  • art activations
  • Art nights (here these are evenings when all the galleries collaborate to extend opening hours for the public, music is playing and caterers are available)
  • State funded arts education
  • Art Bars
  • Mail Art
  • Zines
  • Artist-run-centers
  • Film festivals
  • Residencies with alternative partners - parks canada, nature museum….
  • Nuit blanche type festivals
  • Public intervention
  • Performance
  • Awards and prizes
  • Online galleries
  • Video Art
  • Conceptual Art
  • Cafe
  • Biennale
  • Art Fair
  • Art Hub
  • Online art product shop
  • Street market
  • Via internet events - Images, video
  • Large scale public installations or sculptures
  • Spaces such as playgrounds
  • Private and public spaces, even commercial settings such as restaurants
  • Graffiti and even artist created stickers
  • Events and performances
  • Creation of experiences that engage people in a particular way
  • Posters
  • Public spaces, murals, studios, craft fairs
  • Youtube,
  • Make art as a group, or individual, across lands or with neighbours
  • Alter environments
  • Empty buildings
  • Books, magazines, postcards, diaries, sketchbooks, photocopies
  • Sound
  • Light as art
  • Computer generated art
  • On walls, inside/outside
  • Noticing, documenting, communicating, gathering, curating
  • Public spaces and places
  • Performance
  • Video film photography
  • Interacting with different disciplines
  • Use creative skills in non-creative activities
  • As means for another objective
  • Using any material to express or to communicate or to share
  • Presenting/showing it in any place that feels in line with what I as creator feel like the right place
  • Individual practice
  • Group work
  • Open calls
  • Self directed making
  • Public commissions
  • Private commissions
  • Object based
  • Installation
  • Social situations
  • Street
  • Online
  • Create time and space

Do national and international shows like Venice Biennale, Documenta and so on, become places or events that legitimise certain forms of practice or curatorial style? I would say yes, for better or for worse. They are trend lead and definitely have a bias surrounding the exhibitions. Are exhibitions always ideological? No, it depends on where, who, when and why the exhibition is taking place. You could say that if the exhibition is fulfilling is goal then technically it is ideological to a point, that ideology may simply be to show art for arts sake, or to drive home a political message, it may or may not be successful in doing the latter but it was still ideological in its presence. Are models of exhibition financially, geographically and culturally driven, politically governed and/or for social benefit? Well... yes, and no. Not all of them, it may simply be to display the end of a collaboration, or project, which could be seen as cultural but not necessarily the main cause. Socially the artists and the audience may benefit form the exhibition so that could be an aspect. Is art a spectacle? Yes, and no, if you mean a 'grand spectacle' then no, not all art meets that criteria, but as defined by the dictionary, spectacle is a visually striking performance or display or an event/scene regard in terms of its visual impact - subtle works can have an impact as well as more obvious pieces.Is curating a legitimate practice, and if so, who legitimises it? Yes, it is, its legitimised by the organisations that employ curators, the universities that not educate/train/certify curators, the artists that hand their work over for exhibition and the audiences that attend the hung shows.Does putting art into a gallery put it in quotation marks? I think it does unfortunately, and I really mean the unfortunately. In the same way that creating exhibitions legitimises the work of curators, being present and represented in exhibitions legitimises artists who can build a Cv around the number and location of exhibited works. Discuss self initiated opportunities vs opportunities via/from outside agencies Again I think this can come down to legitimacy. Gaining recognition, or a place on a preexisting opportunity that has been experienced by other artists or will be in the future can show outside support for an artists career, self initiated opportunities can do the same but may come under judgement for the lack of legitimacy. Professional Practice Plan (PPP)A working document that starts in year one and continues until you finish study. It is intended to act as a career plan, it is continually revised and kept current over the length of the course.In year one, the PPP is between 500 – 1000 words. Submitted for assessment in June 2018.The plan should be written to include the following, which should be used as a guide and is not exhaustive.1.A summary and map of your practice in professional terms.2.A plan that sets out your aims for one year ahead, three years ahead and five years ahead. It is about dreams and aspirations, but needs to be realistic.3.Includes identification of networks, notes on the need for skills or facilities acquisition, appropriate ways of presenting your practice (e.g. website)Each year the plan is re-worked, amended and added to.Headers for document:Profile BIO: Katie Venner-Woodbridge (b.1982, London, U.K.) is a conceptual mixed media artist living and working in Dubai, U.A.E. Venner-Woodbridge’s work explores the ways in which pattern and routine facilitate human life, but also the ways in which breaking patterns and systems can provide both opportunity or discontent. Through disassembling and reassembling patterns, her work examines anxiety and disruption as both positive and negative forces. It challenges the boundaries between beauty and awkwardness, and between manageable quiet spaces and the uncomfortable containment of chaos. Venner-Woodbridge has exhibited in various group shows in both the U.K and U.A.E.Personal DevelopmentBusiness card - important for networking in Gulf region.CV – relevant to artWebsite – katievennerwoodbridge.comSocial media links – insta, behance, twitter, fb, pinterest, dribble, blogs - how to develop them, which to develop and whyComplete MACommunity Future plans – applications: sikka, , Artist In Residence, research, postsecret (how do I get in), Critical Dialogues, CAD6.0, Project space M Proposal, JJ proposal residency, arts related job for stimulation.Research Proposal for ProfDoc - explore research further and make it more specific to arts.Reflection Need to put in time frame and concrete goalsPractical Issues Finances, location, access, family.