to do
30/09/2017 - 01/10/2017 - Pecha Kucha notes
Pecha Kucha notes
consider images of process or how to move it forward – ‘sketches of development, how you would do it now’ etc. image of studio, slide about context - research for each piece, philosophy - no text though- just image
Pick key points create/find copyright free images for illustration of ideas.
Betsy Timmer: ‘artists as cultural workers, recording and responding to the times in which we live.’ Façade – what we see vs. what’s inside, Time- passing, awareness as mother. (not a label I wish to enter my work.)
Artworks:
Successful: Divergent Resemblance: Mind the Gap 2017
For a brief, layers, technique, size and message. Engaged audience but subtle - critical: display, lighting - possible for future to artificially light, exhibit on center of room to see from all sides, or another viewpoint.
Expansion of project, make smaller, accompany with other works from different locations, change lighting in respect of time zones.
Unsuccessful: Retrieval Practice: Made In Tashkeel, 2017
Displayed as decorative object, text was not available in exhibition. Did not allow for explanation, accompanying text, so message was/observation was lost. Pieces are prototypes, works in progress, looking to develop further in to a series of ‘retrieved’ items but made in to fragile ceramics, linking to the retrieved clay possibly from areas/country item was retrieved.
Links to Langland’s and bell visiting uncomfortable areas. Interested in tourism, the nomad, the traveller, links to the expat thought - globalization and the aspect of ‘taking from; removing actual articles in innocent arts, removal of cultural practices from traditional settings, taking/borrowing of practices by those who wouldn’t normally practice them. Appropriation, yoga practice, religious beliefs, commercialism.
Blandness of inside of the shell, the beauty of the shell color lost, the texture retained. - Color issues, not sure where the color choice came from, unrelated to the situation. Looking in to the woven structures and creating more fragility, fragile environment, pulling apart of weaves, allowing for weave to hold together the structure. Show the other prototypes - the different colors, exploration in to clay, seek out ceramics studio, silicon mold making, using vacuum former, and no need for plaster casts.
01/10/2017
To do:
Wed: Reading for Critical Dialogues
Mon: Tutorial 8am GMT – 11am GST
Mon: Members lunch @ Tashkeel – 12noon
Wed: Critical Dialogues
Pecha Kucha presentation set up
Look in to task 2 Form Fracture Frame
not for citation or circulation
25/09/2017 - Research presentation
5 min presentations:
Art & Participation, Art & Disciplines, Art & issues, Studio: Studios can be limiting, set boundaries, regarding resources, materials etc. make decisions first before studio or after, studio times more of an affect on practice than we consider.
Art and Integrations: Can you make art regarding issues that are not related to you? Langland’s and Bell did. They became integrated in them.
Research - KVW
Regarding mapping territories, I am passionate about research but have a tendency to get lost and consumed by the gathering of knowledge. I’m currently researching the process of doing effective and efficient research to make sure I don’t waste time or get lost/distracted in information. The key, for me, is to find a balance between informing practice and producing an informed practice with outcomes.
Research as practice / practice as research – during – mutual - integral
Research of practice / practice of research – relationship – part of whole – dip in and out, different, gaining of knowledge or skills
Research is a skill that takes practice, time and training.
Research as practice - Way in which research is modeled by practical investigation
Examination of materials, tendencies, techniques, expressions, actions, ideas, opinions
In the view of Langland’s and bell – do they express opinion or present data? My opinion is that they tend to show data, the contrast to Emin, who is heavily personalized, bias and opinionated.
Art and research vs. academic research –Academic research looks to remove bias and emotion, I would argue that this is where art can differ in that some artists use bias, emotion and opinion to create work that tells a story from a certain viewpoint, or to provoke dialogue about a subject etc.
In general, a deep/thorough research practice builds confidence, generates ideas and progresses work. It allows the researcher/artist to understand their motivation, materials, ideas and context, and portray that in a concise way.
Links: http://www.tate.org.uk/about/projects/practice-research-imprints-and-futures
Response in chat box:
AH19:30 Totally agree about the 'lost and consumed' and time dictates how far we go off on a tangent!
KO'L19:31 It is interesting that you link research as a skill and actually I never thought about it but it is. Depending on your subject matter you have to know where to look.
MC19:31 I agree about the research done by Langland’s and Bell, it is almost data and certainly not response
JV19:31 I know the feeling that research can be overwhelming
AH19:31 However, research is so exciting and opens so many doors...
JV19:32 there is so much to explore, so putting boundaries is the biggest challenge for me.
RT19:32 I often feel similar to you I think KVW, where I am excited to do research, but sometimes do not find the time for making after all that research. I was fortunate to see a performance on Friday, which drew upon exactly these issues. The artist had embarked on a few years research about a memorialist from Canada/the UK and gave a sort of performance on her research. https://www.darcywilson.org/the-memorialist/
EC19:32 I think its all a kind of research - the reading and the making
RF19:32 "Research as practice - Way in which research is modeled by practical investigation"...this is important in the art practice at any age. I feel hindered if I haven't researched enough.
KO'L19:32 It is interesting the place of research and practice and how much research is necessary before we start a piece of art.
KVW19:33 Yes, RT. I feel like I could spend years researching before producing NOTE TO SELF: DON'T DO THIS THOUGH
KO'L19:33 But practice I think should be regular.
MC19:33 I find the word research to be loaded and I don’t even know that I am doing it but wouldn’t admit to it because it feels to deliberate for me and not intuitive although that is the connotations I have rather than what I am actually doing
RT19:33 I also often feel that before I can make any work about a topic, I need to know its complete history to feel comfortable talking about it.
AH19:33 if we over research does our art become less unique?
JV19:33 at the same it can go together: doing research and creating at the same time
EC19:33 I think they have to happen together as much as possible
MLE19:34 I sometimes question whether the opposite of 'over-indulgent in personal art that’s responds to private things publicly can also be true in that can Art become too 'academic' where it is now lost to the viewer which is whom it was made for? Or was it?
MZ19:34 I just want to say something, over researching and be depend on others arts activity actually give a freeze mind which I think it's very important to keep it balance otherwise we never find our ways and language
RF19:34 @AH, I agree, but the lack of research can make art less authentic.
EC19:34 that raises the question of who is the audience MLE
KVW19:35 for some it definitely becomes intuitive research and for others its deliberate
MC19:35 Yes I think there is no formula to making art it depends on the artist
JV19:35 @RF: it could it also be the other way around?
KVW19:36 MLE, I completely agree, academic based art can create an elitism and exclude certain audiences
MC19:36 however it is important to be humble to new approaches and stepping into new zones and out of comfort
To Do:
Meet in groups of 3 – discuss questionnaire
Tutorial next week
Put work on journal or email by Thurs 12pm GMT
Task 1 – Pecha Kucha, don’t script, be live, will be timed.
not for citation or circulation
21/09/2017 - Video Lecture 1 - Reflexive Practitioner
Video Lecture 1 - ARVL1 – Reflexive Practitioner (Viewed on 20/09/2017)
Part 1- Looking at artists reflecting on work
Part 2 – Strategies of developing a reflexive practice
Personal notes
Research notes
Part 1- Looking at artists reflecting on work
Graham Sullivan – many facets of Contemporary art, in many environments.‘Art Practice has long been a critical and creative means of inquiry that encourages new ways to think about what it is to be human within the uncertain world in which we live.’ (Sullivan, 2010)
David Buckland – Cape Farewell project – artic. – climate change - using art to draw focus
Reflexivity = reflection. Thinking, pondering, meditating, reviewing.
Turning back to oneself – looking at own thinking – stepping back, taking stock, distance. Reflection can be too self-indulgent.
‘Donald Schon’ – learning @work,
Michael Eraut – professionals on job, most learning happens informally during normal working practices, i.e. conversation, problem solving, etc.
Reflexive – thinking about your thinking
A reflexive practitioner – a learning practitioner.
It’s all Research – being reflective is doing research on your own way of working, investigating & gathering data/observation etc
As a fine artist you need to be reflecting on:
The way you make work,
What influences you, - important for me
Knowing where to position your work in relation to other artists, - important for me
Being conscious of yourself in the wider context, - need to be more aware, who are my contemporaries?
Research – techniques, materials, influences. The research is intrinsic if you see it that way, as Sullivan says:
‘Reflexive practice is a kind of research activity that uses different methods to work against existing theories and practices and offers the possibility of seeing things from new perspectives.’ (Sullivan, 2010)
Pompidou center – 1970’s Rodgers etc, designing services outside creating an open/flexible interior – new way of looking at something.
James Aldridge – Cold Mouth Prayer – Tate 2007
Royal college then scholarship – Rome.
Mundane and cliché work – painting of trees - as a child would draw trees with dad, copy birds from text books – inherited dads love of natural history.
Interests creep in from outside of art. – have I gone too far from this, one extreme to the other?
Personal experiences of art – ‘bringing these in was like allowing a part of myself in to the work. It was challenging to let them in, as they didn’t feel worthy of being included. Once they were allowed in, and then it allowed doors to be opened.’
‘His work came alive’ – THIS IS WHAT I NEED – Am I willing to find balance between personal motifs and research? – links to my work around routine and my struggle with the concept.
Research is past, things he already knew, became relevant. Don’t stop research or lose research as it may be come important, don’t dismiss past interests
Tracey Emin – confessional work, but does have distance? – is she too far involved?- living the drama of her story, biopic. Life as research
Shaun McNiff – arts therapist/artist
How to handle tension between personal experience and making of art. Emphasize – art comes from within me, I nevertheless attempt to study the subject with as much objectivity as possible. I am intimately connected to my work but the work is still separate. – thinking of my personal schedule compared to the people I research. – starts within becomes objective – links to work on Professional Practice Programme at Tashkeel last year.
AR – Artwork has to come from somewhere subjective but to be able to make a valued judgement about work you need critical distance and objectivity.
Langlands and Bell – want things we do to be well done. – their work is opposite of Emin.
Highly research driven practice
The meanings of art – arise in the makings of it – not that everything is free to us as artists but that we do feel free to explore if appropriate.
House of Bin Ladin – 2003 - Post 2002 visit, Politically sensitive - is art anti establishment? Many think we have no place to work with the establishment.- they work with people - intervening in peoples lives, not participants - subjects.
The experience changed them, life was hard for people in Afghanistan. – question to myself - should the creation of your work change you?
Use the opportunities to go/do something you haven’t, create something original, meaningful.- Research - things they are interested in - follow curiosity, this takes them to peoples lives in extreme circumstances.
Is there a moral or ethical dimension that they are not talking about? – this is what could make it personal, they leave opinion out, its data collection and presentation.
Do they have to much distance from their research? Does it make their artwork available to the viewer? Do they do to much research? Is that possible?
Baumgartner - Handmade prints/woodcuts, video source - Contemporary look but recognisably handmade. Speed, looking out of window, blur, view colour as horizontal lines, speed and standstill, together as a way of viewing our current condition, the faster we move the less we see.
Rose Wylie, Belgium painting: Cloven shoes. Diptych (slide, not shown here)
How do we prevent ourselves from becoming slick?
How do we stop ourselves from just going through the motions?
When are we just recycling our visual language because it has become our style?
What have we learnt?
Emily Ball - drawing and painting people - Looking at other peoples work is a good way to reflect on your own. – Do I have this book? Yes, read it again!
When EB saw RW’s Cloven Shoes, made her question own playfulness, ‘how much was she trying to rely on attractive gestured marks and colour to cover up the lack of a real connection to subject? If these were taken away, there wouldn’t be enough to make a striking memorable image. Was there any poetry or humour? Uncomfortable, because I felt exposed by recognizing something in her painting that was missing in my own.’
Frustration, difficulty - important, motivating - lead to letting go and make fresh connections with the work.
Helpful to recognize patterns and how habitually respond to them.
A research journal can help identify these unconstructive habits or dead end processes.
During MA - reflect on development of practice and theory that informs it.
Keep research journal
Support examination, scrutinize it and make changes. To take it in the direction you want, this takes time, attention and application. Using others work to informTranscriptions - copies, likenesses.
John Skinner – Scorn - Paulo Veronese– Moma podcast – Cezanne & Pissaro
Decided to paint it but too big to handle, chose a part to do - liked placement of heads, eroticism. Became ‘Two Scornful Women Watching As Their Lover Is Being Beaten To Death By Lust.’
And then ‘Vanitas: a homage to Helen Chadwick with nine roughly painted penises and two vaginas on strings.’
Considered Helen Chadwick a contemporary and envied her work
envy is important as it shows you what you want to be –
Transcription of one of her works – ‘Vanitas 1986’ - still life - Netherlands in 17th-century. Vanity of earthly life to repent, consider mortality
Skinner positioning himself in relation to art around him – this story makes me think of Turrell and Balka, can I create a small embroidered piece that is as engulfing as these large pieces – to feel safe, but isolated?
His research directly informed his work – it became work. It also comments on existing work – obviously he ‘owned’ it.Part 2 – Strategies of developing a reflexive practice
Studio –what is your studio or workplace for? – home office, Tashkeel, Surf House, hotels, coffee shops
All places of research whether theory or observation
Rachel Whiteread - Drawing studio in Berlin first-time important thinking place
Virginia Woolf - a room of one’s own. A place to be with oneself away from the rest of your life.
Or does your studio give you an identity as an artist? – Tashkeel gave me confidence, community gave me validation
Would you still be an artist without a studio? – motivation, inspiration & a voice.
Does it make you a member of a community? - yesDoes it put you in a social contact with other artists? - yes
Is it where you create stories that feed your work? – like this ideaIs it where you store tools, materials or finished work? - yes
Look at what you do in studio.- home office – budget for house, applications, writing, dictation, planning. Tashkeel – painting, printing, embroidery, DIALOGUE.
An audit!
What do you do in your studio?
Write down everything you do in your studio or the place where you usually work. Include drinking cups of tea (yes so much), dreaming, reading the paper (yes, mags at home), phoning friends etc. Be honest
Which of these things do you want to be doing and which do you not? – I’m okay with doing it all except distracting talk, discussion is welcome, but need more boundaries.
What else do you want to do that you don’t? And why aren’t you doing these things? – DRAWING – lack of confidence, time management
Is your studio set up for you to do the things you want to do? – reasonably. Do you have a comfortable chair to sit in to contemplate work? Is the light adequate? Are there enough in electrical sockets? Is there a good enough Internet connection? – yes
Where else do you make work, or think about work, or carry out research? – surf house, coffee shops – in the car – podcasts, to do lists, thoughts. What else do you do in these places? – socialize, quiet time, eat, commute
Are those serving and supporting or holding you back? Make some changes, - if needed.
In the studio - going round in circlesFine - okay and important, often a constructive way to work. Think about it in cycles of activity.
Similar to Kolbs learning cycle, familiar to research, learning and studio practice.
- Thoughts – separate – go through body of existing work, use apartment in Nov when moving? Or possibly LB’s spare room or space @ Tashkeel? Is that possible? Lounge? Evaluate own work in existence – feeling stuck.
Cycles - reflection, new cycle, repetition = iterations
Reflection allows to review process, perhaps moving into practice too quickly, perhaps more drawing – review current process using this cycle.
- This section should be printed out and placed in view of studio space.
Observe and reflect –Contemplate from different perspectives, sit with it. Draw from observation, draw a schematic diagram. Photograph, video, print and photocopy, draw on photocopies. Use different media to explore.
– go back to statement, take it apart, how has it evolved? What is important now? How does it effect you?
Write about what you see, touch, feel, smell etc. Describe using metaphor i.e. if it was a holiday or something. Record your description. Emotional response – important as influences created this.
Ask questions as if you know nothing about what it is or how it was made.
Put in a different environment, take it outside, place it next to other work. Give it a persona and interview it - Sean McNiff - Imaginary dialogue. Invite comment from a colleague. – Tashkeel is uninvited, ha! But I love it!
Evaluate –
How do you know when it is finished?
How do you know if it works?
What would be different if it didn’t work?
Intuition? Sense of rightness?
Intentionally executed? – run out of time? Deadline? Fulfils criteria?
Reflective outside the studio –
Understand the field you are working in - Fine art? Modern/western concept - only recently has fine arts taken an interest in non-western cultures and not defining it as exotic. – Moma Podcast – Global/World Art symposia 2009 (?) Defining fine art becomes difficult as artist appropriate methods and practices from other areas and disciplines. The purpose of art could be to critique, communicate, explore, evoke emotions, reveal.
Cultural, social, political, educational, philosophical.
James Elkin - value judgements rather than a definitive definition.
Theodor Adorno - Aesthetic Theory 1970 – “It’s taken for granted that nothing which, concerns art is taken for granted” – read this book, its on your desk
Who does it? What are its products? Where and when are they experienced or consumed?
- Artists, Assistants, experts, technical experts, participants, educators and collaborators.
- Experiences, events, object
- Physical or virtual manifestations, Commentary on art too.
- Galleries, cinemas, public spaces, TV, web, books, films, tea towels etc ‘merchandise’
How is it evaluated?
By art world commentary, critics and reviews, specialist magazines and journals, general publications, media commentary, auctions, celebrity endorsement, gallery sales, adverts, education. – what is relevant here in Gulf? Closed dialogue, lack of critique due to censorship and cultural values
How is fine art different from other fields such as craft, art history, arts theory, design, medicine, anthropology?
Craft - lines are blurring, markets and audience different.
Historically art has been about making now about history and theory.
Design - doesn’t solve real-world problem, is not for distribution or retail.
Medicine - Similar concerns - intention to do good. Aspect of artistry to medicine. Fields are different.
Anthropology - similar concerns regarding artefacts and the roles of individuals making cultural meaning in societies.
Sullivan: Be open to new and multiple interpretations of artworks – allow others to offer what they see and that you may see something different.
Debate and discuss processes and meanings that come out of these interpretations
Find a group to engage with, critical friends, reading group, studio group for reviews of work, uni where you can look at talks by artists, theorists, art historians, opportunities online. – Critical Dialogues @Tashkeel starts Wed 27th Sep w/Kevin Jones, Art Talks 101 @Alserkal, Global Art Forum @ Art Dubai, Sharjah Art Foundation talks & events, NYUAD talks & events
Question the contexts in which art is made
Impact etc – langlands & Bell. What statement is made? Who does it affect? Is it relevant?
Be aware of the potential artistic, social, political, educational or cultural impacts.(Sullivan, 2010)
Appropriation of other artists work - Gilllian Weiss, advert
Richard Serra – The Terminal - 1977. - Implicit and clear, art awkward and overpowering, resistance of community, 1930s repression, political alibi etc. Sculpture scapegoat.
Cape farewell project-explore on website.
To Reiterate:
Recognise and acknowledge whose work you are building on – have clear influences – nothing is original & that is okay as long as you’re honest.
Being transparent in your methods and open about your methodology – its okay to get help etc.
Be rigorous in your recording – note everything and transcribe to journal
Be prepared to justify your methods – know what you are doing and why
Don’t confuse effort and quantity with quality – valid
Be careful of using theory to justify artwork – valid, slipped in to this and away from personal, need to find balance.
Being modest in your claims – clarify
Be honest with yourself – yes!
Most importantly, don’t lose curiosity or your courage.
After listening/watching the lecture, I went back through my notes with the pink pen and annotated my own thoughts. Something I wish I had done on previous courses, perhaps this is where learning fails/hinders some students, present them with 30mins after a lecture to annotate, later on encourage them to discuss their notes with a classmate, allow them to absorb and digest the information instead of telling them it in a short time, closing books and moving on.
Still to Do:
Revisit questionnaire
Type notes on to blog - done 23/09
Add images if relevant - done 23/09
Consider revisiting sketchbooks this week or going through body of existing work.
Other themes:
Participant Involvement
Research
Art & other disciplines
Artists & issues
Life/art integration
The studio
References:
Cape Farewell Project: www.capefarewell.com
Christiane Baumgartner video: www.moma.org/explore/multimedia/audios/32/771
Emily Ball on Rose Wylie: Ball, E. (2009) Drawing and Painting People. Marlborough, Crowood Press.
James Aldridge, Christiane Baumgartner, and Langlands and Bell interviews: James, N. (2010) Interviews – Artists Volume 2: Recordings 2010. London, CV.John Skinner on Paulo Veronese and Helen Chadwick: Ball, E. as above.
Langlands and Bell video: www.langlandsandbell.com/new/the-house-og-osama-bin-laden-video.html
Richard Serra: Stiles, K. and Selz, P. (1996, republished April 2011) Theories and Documents of Contemporary Art: A Sourcebook of Artists Writings. London, University of California Press.
Shaun McNiff: McNiff, S. (2008) Art-based Research in Knowles and Cole (2008) Handbook of the Arts in Qualitative Research, SAGE.
Sullivan, G. (2010) Art Practice as Research: Inquiry in the Visual Arts. London and Thousand Oaks, CA, SAGE.
Schon, D. (1983) The Reflective Practitioner: How Professionals Think in Action. New York, Basic Books.
Eraut, M. (2004) Informal Learning in the Workplace.
Image source links:
Pompidou Centre, photo credit: INSADCO Photography / Alamy, https://www.cntraveler.com/activities/paris/centre-pompidou
James Aldridge, Cold Mouth Prayer, 2007, http://faariscar.blogspot.ae/2011/02/art-knowledge-news-keeping-you-in-touch_09.html
Tracey Emin, But I Never Stopped Loving You, 2002, http://www.traceyeminstudio.com/artworks/2002/01/but-i-never-stopped-loving-you/
Christiane Baumgartner, Allee II, 2008, Woodcut Diptych on Kozo, (right panel), http://www.christiane-baumgartner.com/allee2.html
Rose Wylie in her studio, http://www.tate.org.uk/context-comment/blogs/cornelia-parker-why-rose-wylie-true-originalWord count: 2714
not for citation or circulation
18/09/2017 - Key points
Listening to MoMA Talks: Panel Discussions & Symposia podcast, World Art | Art World: Introduction and "The Global Rules of Art". David Little, Director, Adult and Academic Programs, The Museum of Modern Art provides an introduction to the Symposium. Larissa Buchholz, State University of New York at Stony Brook, presents "“The Global Rules of Art”. Recorded at MoMA, April 29, 2006.
Thoughts & Key Points: Exoticism of ethnicity, the increase of biennales and the origins of the artist involved. Western or Ethnic, these are the two ‘labels’, identity politics (a term I need to look in to further, very prevalent in UAE art scene, difficult to be included if not gulf native).
Introduction to MA1 Visual enquiry – AR
MA1 unit information 2017
Positive and critical way to discuss work.
Task 1 – Is to develop language
The key task is Task 5 which is practicalSome come and leave with a different practice, some keep the same practice but think differently.
PPP – Begin in year 1 – developed through to year 3
Contextual study – scholarly, 20% of marks, reflections in journal
MA journal – when you’re at university in physical space your lecturers can walk through your studio, watch your progress, and see what you’re doing. MA Journal is to allow that happen so we need to make sure this is where we upload everything: bullet points, scrap paper, notes, works in progress; it’s literally a virtual sketchbook.
Tutorials – AR, CW and visiting lecturer: this will be someone who aligns with you and your practice, they are picked very carefully
Critiques – don’t be too precious, we need to learn to talk to each other and be critical as well as supportive, and not to take offence. Understand it is to allow us to grow
Recapped:
Use journal for “Everything”, works in progress, exhibitions, thoughts - A digital sketchbook. Anything you want doing regarding art goes in your sketchbook
To do list:
Questionnaire
Three readings
View of the L1 when link is obtained
Thoughts from my view of research regarding VL1
Make to do list archive post to remove bulk from widget on blog
Finish ToDoist input from Gants planner
Contact participants regarding for participation in what’s app or Facebook group
Download readings from Google Drive
Wednesday 20th Sep: Exhibition opening at Tashkeel/Islamic Art talk in Alserkal
Tuesday 26th Sep : Art 101 talk in Alserkal
Wedneday 27th Sep: Critical dialogues at Tashkeel
Email regarding prep for Critical Dialogues
not for citation or circulation
10/09/2017 - 13/09/2017 - Thoughts on Ways of Looking (2014), Ossian Ward
This book, it’s been troubling me.
Who is this person telling me how to look at contemporary art? I say telling, as I don’t feel like its advice or suggestions as I delve deeper in to the chapter. It is instructions; I must not be looking at contemporary art correctly. I admit that I previously haven’t, I didn’t linger and wait for meaning or emotion to hit me, I grazed past the blurbs pasted neatly to the gallery walls, I flicked through the catalogues before storing them neatly in the pile under my desk, not at all times but a large majority. With time and as understanding of my own practice grew, so did the understanding of other artists work.
Perhaps we’re looking at this book wrong; perhaps it’s not a guide to help you look at contemporary art to gain understanding; perhaps it’s a guide to give your own work understanding; a subject I have troubled through recently, which is why reading this text now frustrates me that the lessons I have discovered myself are being spelt out in not so simplistic terms.
The beginning of this book refers to the use of ‘arts speak’ and declares it will not be implied in this volume although I lost count of the visits to the dictionary to discover what the next obscure and infrequently used word means for myself. Offering the possible meanings of contemporary are to those that want them but just out of reach to those that shouldn’t have them perhaps? Is that how art writing is created, you must have some knowledge of academic writing to understand the meaning of art or it’s lost on you anyway: ‘here is a pocket dictionary, good luck’. Fine art is elitist, I’m not sure it will ever touch the masses as many proponents wish it too. Public art is viewed and seen by many but rarely understood and in many times the argument is to whether it needs to be?
Words needing clarification:
Reverentially – deep respect
Emblematic - symbolic
Rejoinders – sharp or witty reply
Dialectics – investigating or discussing the truth of opinions
Paradigm – a typical example / pattern of something
Obfuscatory – obscure or unclear, unintelligible, bewilder.
Endemic – regularly found
Verbose – using more words than needed
Elucidate – make something clear
‘Kunsthalles’ – a facility that hosts art exhibitions
‘Lingua franca’ – a language adopted as a common language between speakers whose native languages are different (bridge language).
I am dyslexic and understood the basic meanings of these words but wanted to clarify the exact meanings for future reference. Every day’s a school day!
What’s it about:
This book has garnered a lot of praise as a way in, a user guide to contemporary art. Tabula Rasa – the clean slate
T – Time
A – Association
B – Background
U – Understand
L – Look Again
A – Assessment
– instructions for looking at contemporary art, a way to give it a fair chance and not view it with clouded judgment.
It looks at art as entertainment, confrontation, event, message, joke, spectacle, and meditation all from the point of the viewer not the artist. So it does not cover things like art as expression, or symbolism as these would be from the perspective of the artist.
He touches on artists that are I consider valuable influencers to my own practice. Miroslaw Balka, James Turrell, and Martin Creed; an artist I frequently used to teach art theory and the classification of what art is. Looking back, I did this rather crudely, and clearly not discussing the work as deftly as I could now (not that I proclaim to be an expert, but I certainly understand the work better than I previously did).
Regarding Balka, when experienced first hand it sparked a release, an epiphany moment. I was touched by the work and immediately wrote about it. A sensation I had not received before, an encounter; art became substantial as message portrayer, I knew it was there but it had remained out of reach, tempting me enough to keep my interest around. At the time I was oblivious to the Background, to the references of the holocaust, concentration camps, and human trafficking containers, there was no Association with the work in that sense. It resonated at a personal level, through my own interpretation, negating the artist’s message.
My journal entry from that day: 26th Feb 2009
Tate Modern, Miroslaw Blaka – How It Is – Unilever Series. A large Iron box stands before me, its entrance concealed from vision against the wall, it’s not as tall as the hall itself but it’s big. Rounding the corner a ramp leads up, is it wider or does the eye deceive me? It is black, the blackest of blacks. Faint figures can be distinguished walking towards me. I look, I keep looking but I can’t see the end, it feels like it’s getting darker, I feel nervous, where is the wall? I know it’s there, I’ve seen it from outside but I can’t seem to find it in. There it is and it’s soft, comforting like velvet, a familiar feeling. I stroke it, I try to see my hand but as I look hard at it my eyes gets confused and my hand disappears. I feel safe here, I don’t want to turn around, I can hear people talking and laughing using phones and cameras to shed light inside, it doesn’t work, it’s absorbing it all; it doesn’t want it, it doesn’t need it. Finally reluctantly I turn. The entrance is like a large frame encompassing the expanse of the rear hall wall. The light flood in, it’s ruined now, that feeling won’t happen again; my brain knows what is there and how it works. I walk to the end feeling exhausted by the experience. I sit on the floor facing the box, children run noisily in out, people take photos. I write…
Since seeing the work I found it has resonated with me regarding the aspect of overconsumption and being truly alone. Within How It Is the darkness envelopes you to the point that you’re aware people are there but they don’t really interact with you so there’s solitude in viewing the work, unless of course you see it with another person. In today’s current contemporary life is very difficult to be truly alone and truly switched off, I found myself longing for that installation to be nearby; to find a dark corner covered in velvet. In fact I have even purchased a black velvet chair to find that element of comfort that I found within that work as it made such an impact on me. The work is about fear it’s about for me anyway it’s about going into an open space that you don’t know the end, you don’t know what’s coming you, are at the mercy of the artist in walking into this void. Once you’ve experienced it you are no longer fearful.
Ai Weiwei’s Coloured Vases (2010), Abu Dhabi Art 2016: over looked, acknowledged because of their status but their meaning was unknown. I was oblivious to the fact that they were Neolithic Vases dipped in industrial paint, and the gallery was not highlighting that fact. Increasingly it seems that here in Dubai art is exhibited in commercial galleries, which don’t always put the meaning behind the art first but rather the status of the artist or the ‘aesthetic appeal’ of the work instead. So the question then becomes is it my fault that I overlooked the work as the meaning wasn’t initially apparent or are the representatives of the work at fault for not allowing the viewers that information? Perhaps the blame is divided, as I ‘should’ have paid more attention to the information the gallery ‘should’ have had available.
James Turrell, The Deer Shelter (2006) experienced at Yorkshire Sculpture Park on the 8th Dec 2009. As I sat in that space in a rather chilly December I could have happily let a day pass in to night and not visit another single work while letting the sky pass above in this work. It was cloudy that day, and the subtly of white and grey tones was entrancing. The fact that the ever-changing sky was the viewpoint, the work was not the shelter but the shelter enabled you to view the beauty of the atmosphere we take from granted above our heads.
The key is that this book is biased, its Ward’s way of looking at Contemporary art, and that’s perfectly fine. If you are unsure of how to approach Contemporary art, or any art for that matter, you can use his useful acronym TABULA to work through the pieces to gain more understanding or opinion. The problem is he just doesn’t seem very positive about it! As a critic his phrasing is negatively persuasive, openly voicing his disapproval or dismissiveness towards art, then explains how he looks again. It makes it a tough read for me as I have already tried to move away from that style of thinking and be more open. It’s like listening to your friend gossip over coffee about someone you actually quite like.
Things to do:
Read Berger, Ways of Seeing (1972)
Look up comprehensive art movement timeline and look at overlaps
Create an ‘artspeak’ log of overly complicated/academic style words
Word count: 1557
not for citation or circulation
12/09/2017 - Notes
To do list:For 18/09
Set up journal
Book tutorials for 2nd & 9th Oct
Explore OCA site
For 25/09
Download & complete Questionnaire Reflecting on Theory & Practice from LMS
To be discussed in small groups
Buying books: Elkins – Stories of Art, James – Interviews – Artist - extracts available online
Queries – help@oca.ac.uk - Non-IT questions save for seminar
Emails – individual emails included in message
Links to artists
Today I have completed the following tasks:
Dictated and edited journal entries
Uploaded entries to Wordpress
Created Gantt Planner
Filled in GPlanner with course information for year 1
Booked tutorial times online
Saved emails of cohort in OCA email account
To do:
Add in personal activities to GPlanner
Complete Questionnaire
Finish notes of ways of looking
Publish notes to Wordpress
Read relevant sections of Art Today
Pick up work from Tashkeel
not for citation or circulation
11/09/2017 - Seminar Notes - Introductory Workshop
Seminar is at 8pm UAE time 5pm BST
Nervous about video seminar, I’m logged in and on hangouts about 4 minutes early, microphone is muted as is my camera until others join. Feel like this is the first day of uni lectures, setting down rules and etiquette, setting expectations etc. I feel a bit old for all this, but interested to meet the cohort as it were. So far they are all late! I logged off and back on and I’m still the only one.
While I wait:
Questions:
regarding crits and tutorials, are time differences taken in to consideration, will we be group regarding location to make it easier?
How do we gather contact details of group members – fill in directory sheet?
How ‘raw’ do you want the MA Journal?
Key points:
Listening, looking & researching info. Active & thoughtful contributor to debate
Be proactive & prep – self motivated.
3 day response to email due to tutor hours
Make your practice LIVE – everyday, embedded in who you are and your life.
Let tutors know if you’re having trouble or issues that may impact on studies.
Previous cohorts have set up FB pages without tutors present to allow communication.
Student Rep needs to be selected – to give support & pass on feedback to tutors - to be selected next session.
MA Research Journal –
thoughts,
reflections,
comments on exhibitions, lectures, talks, workshops
rough doodles – to finished pieces
context – research behind it
Start immediately – tutors check in to journals regularly.
Intro to cohort:
Who you are, where your from, what your working practice is, what do you want from the MA?
EC – Dublin, practice – screen printing, video. led by enquiry: What am I permitted to do and political boundaries, gender – looking for challenge – take work into an unknown place, learning best ways around things.
KVW – spoke about location and context of practice and materials weave and embroidery.
MZ – Dubai (yay!) – designer, visual arts teacher, graphics background.
PN – France – ceramics, now painting and enjoying. Looking at colour contrast, nature vs urban environments, strength of nature and the little we notice it. TEFOL
RT – New Brunswick, Canada – how stories are told, myths and science, how we share fact based information, socially based projects - museum educator & coordinator - challenge & grow a sustainable practice.
RF – Qatar, expat UK, secondary school teacher – self-discovery journey – interested in identity.
TB – Cambridge – Fashion Lecturer on 1st yr degree programme, photographer - works with scientists, making artistic responses to their research – wants to bring fashion back in to work.
JV – Saba, Dutch Caribbean, child psychologist (mic not working, typed in to chat box)
MC – Macau, 3 yrs - runs art program - sculptor but painting atm, - interested in nature and interrelated aspects of reclamation by nature
MLE – Zimbabwe - 2D ceramic surfaces photos, collage, printmaking, multimedia (late to hangout due to technical so presented without hearing everyone else)
regarding crits and tutorials, are time differences taken in to consideration, will we be grouped regarding location to make it easier? Yes, time-zones are taken in to account, there are various sessions from morning to evening so work with what is best for you, be considerate of other peoples time-zones and work around each other.
How do we gather contact details of group members – fill in directory sheet? Yes, immediately, don’t be worried about being quick off the mark, be active and involved.
How ‘raw’ do you want the MA Journal? Use it to document EVERYTHING! Don’t hold back, pitch in, Participate.
Kentridge quote: ‘A Safe Place For Stupidity’ http://julietartmagazine.com/en/william-kentridge/(love this, will put that on my blog in the side!)
We all want to change, challenge, explore.
First year research, trying out, reflecting, Sometimes forward, backward or circles, discomfort but opportunity for learning. Ability to take risks, push boundaries, be open.
Be disciplined, critical, focused.
a lot of teachers in group – challenge to be in a position of not-knowing, my input ‘often on not-knowing we can feel lost, challenge is to find freedom in not knowing’ - allow the freedom.
paying attention to the everyday
not deciding what’s important from the start - A phenomenological approach or bracket and ask ‘what is it that is going on’, think about things critically, engage with others
Be broad but also what excites
Being online is not the same as in person seminars so we need to manage self-care: be somewhere you won’t be interrupted, snack, water, heat, adjust screen etc. Organise files and images so they are easy to find, as you go down the rabbit warren online screenshots, bookmark, label, organize.
Doing work online; Disadvantage of not seeing the physicality. Good photos, lighting, scale, surface and texture details, different angles.
Presenting online; can be polished commercial etc but its not important to focus on that, not slick, it’s about the work and the ideas that’s important so consider this with regard to time-management. Making enquiry - that’s the focus.
Tasks for next session:
Find questionnaire on LMS; visual enquiry
Set up blog
Book tutorials on sheets
Things to do:
Questionnaire
Tutorials sign up,
Add to blog,
Fill in contact info
Personal:
Set up planner,
Deadlines - use calendar on site LMS, add time differences
Image source link:
William Kentridge, Rubrics, Vertical Thinking, 2012: http://julietartmagazine.com/en/william-kentridge/
not for citation or circulation