Home

04/12/2017 - Task 2 - FFF - Critique feedback

in , , ,

Feedback from MA group:

  • undid a drawing by folding it over & try to undo it
  • deconstructive drawings of architecture - 90's , fragmented aspect, scale up through building from space
  • undone it to put it back together
  • add order and understand it, through the folding and overlays
  • doing & undoing
  • motion
  • livework evern though still
  • 3D objects & archtiecture - a still place where action happens
  • made them active with the stictch, using motion,
  • a book is an active way to look at images
  • paths - books & acetate drawings incorporate media
  • print making to scale up - rotation on screen prints
  • needle punching and thicker yarn.
  • lines seemed physical & real
  • images 3 - like pieces of fire wood
  • movement - the depth & movement from the work
  • motion - up towards sky
  • images - 3D quality - the pieces hanging and the light behind
  • black & white pieces moving around with them
  • 1st image sets tone- influenced the reading
  • skyscrapers hectic city life, & the confusion
  • the intention and the context how images are shown
  • so much is happening
  • softely touch one technique and then move on to the next one
  • motivation to bring message or process was about energy
  • 3D buildings
  • squashed buildings -
  • abstract objects or sculptures
  • large ceramic pieces in a gallery etc
  • journey - squash them & remake them in different materials
  • 2D drawing give 3D/4D moving through & within the space
  • Image 7 - sound reverbation
  • asking to be made bigger, 3D or body size
  • moving through space - exquisite minimalist eloquence
  • edging -framing is important
  • how to keep it alive
  • vertically or horizontally - both or one?

On the absence of colour:

  • makes sense - distraction from how it is processed
  • read as diagrams - it would lead to question what the colours represents 'colouring the eyes'

Response to feedbackThe aspect of motion/movement - I was unaware of this but can see it now it has been highlighted. The drawing in to 3D aspirations, scaling up was largely agreed upon and deeper intimacy with techniques rather than the 'light touch' that has happened thus far. Exploring density through embroidery techniques and materials.

02/12/2017 - Task 2 - FFF - Peer feedback

in , , ,

I shared my work with a peer in the studio I belong to, this is her feedback:Processed with VSCO with hb1 presetH: I love this so much, its starting to do something the white paper didn't do.I think the experiments with colour could also inform density/background.Try drawing with a thick ass Sharpie too. The thickest you can find. Just to see how that changes. 'Weight' on its own has so many possibilities, I'm so curious to see.With the stitches, I feel like I want there to be more density. I know you like the chain stitch, but I suggest going for something with more volume and relief like questions.Some of the drawings are dense in terms of weight & they are so beautiful. They overwhelm sometimes in an amazing way.I feel like that needs to come in with the stitches, I want to see thickness & more aggressive gestures. Don't be afraid - Unleash your dragon.Nothing wrong with 'design' things either, they came out of your mind and are worthy of showing. Don't segregate art & design, combined they yield a rich practice.IMG_5121'The fold book' I would bind the papers but not make it a rigid book. The lines are crazy...what if you tried just binding things together in no order, as you write about order vs chaos. What if it doesn't conform to a book form?img_4690The fragmented & reassembled pieces are starting to do that if you bind this way - try it!IMG_4786Keep layering until you can't layer anymore. Take the chaos to a crazy level... then bring it back.References for density from a simple material: John Chamberlain - the Foam Sculptures,

Frank Stella - how they are constructed, protruding;

k.162 by frank stella
Frank Stella, k.162, 2011, 22 x 22 x 24 in. (55.9 x 55.9 x 61 cm.)

Anni Albers - weave & geometry.

Screen Shot 2018-01-10 at 10.38.27 PM.png
Anni Albers, Design for Wall Hanging, 1926, Gouache and pencil on paper, 14 x 11 1/2" (35.6 x 29.2 cm)

I found this feedback very useful, although it is very specific in offering suggestions for directions to take the work I am open to them as many are already ideas I have begun to discuss in my sketchbook prior to the feedback. I found the reference for density useful as I understand the aspect of 'dense to bursting point' of being full and overflowing; this contrasts to the minimalism of my stitched pieces but the ink and paper overlays are heading in this direction, it would be interesting to consider how the overlays would work as densely stitched pieces. The aspect of the Frank Stella pieces that are 3D but have an element of 2D when viewed, they seem to encompass a 2D plane even though you know they are 3D.

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

in , , ,

'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.