to do

07/11/2017 - Task 2 - FFF - FRAME - Sketchbook & Research: Thinking about...

Inspiration from other artists and designersThinking about...ceramics - cutting fractured patterns from the clay - like geometric lattice work but uncomfortable - weak, fragile, unexpected -screen-shot-2017-11-14-at-11-50-24-am.png  screen-shot-2017-11-14-at-11-55-38-am.pnghttps://www.margaretkinkeade.com/      (screenshots of website)Micheal Coppers ceramic city blocks (https://www.michaeljcooper.co.uk/ceramics)Screen Shot 2017-11-14 at 11.42.41 AM   Screen Shot 2017-11-14 at 11.43.03 AM (screenshots of website)the fragility of time? life? but why? for what purpose?Rokni Haerizadeh -  But a Storm Is Blowing from Paradise (2014–15), he paints over printed stills from YouTube videos and television news broadcasts to create humorous subversions infused with melancholia and critique. (https://www.guggenheim.org/map-artist/rokni-haerizadeh)Rokni Haerizadeh -  But a Storm Is Blowing from Paradise (2014–15) (https://www.guggenheim.org/artwork/34596)paint over photos to create repeat patterns - use existing digital images to push them further.Heriot Watt - exhibition of architecture studies in AlSerkal - the use of the frame to manipulate the fabric in space - use this as a starting point to create installation maquette.

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.

Pompidou Centre, photo credit: INSADCO Photography / Alamy, https://www.cntraveler.com/activities/paris/centre-pompidou

Pompidou Centre, photo credit: INSADCO Photography / Alamy, https://www.cntraveler.com/activities/paris/centre-pompidou

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.

Christiane Baumgartner, Allee II, 2008, Woodcut Diptych on Kozo, (right panel), http://www.christiane-baumgartner.com/allee2.html

Christiane Baumgartner, Allee II, 2008, Woodcut Diptych on Kozo, (right panel), http://www.christiane-baumgartner.com/allee2.html

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.

VL1 Activity cycle

VL1 Activity cycle

- 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

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

Valerie Jolly - 'Re-Collection III' (2010) - tissue paper, water & pva

Valerie Jolly - 'Re-Collection III' (2010) - tissue paper, water & pva

Peter Fraser - Photographer - 'Untitled' (2006)

Peter Fraser - Photographer - 'Untitled' (2006)

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 Stupidityhttp://julietartmagazine.com/en/william-kentridge/(love this, will put that on my blog in the side!)

William Kentridge, Rubrics, Vertical Thinking, 2012: http://julietartmagazine.com/en/william-kentridge/

William Kentridge, Rubrics, Vertical Thinking, 2012: http://julietartmagazine.com/en/william-kentridge/

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