Next 2 weeks tutorials. First of two sets of tutorials. ELLIE BRINE 10:50 27th October
What kind of critical texts and themes interest you most and link to what your doing in your studios. Developing a body of research with relevant artists materials processes. Research that involves thinking about critical texts, and perspectives. Helps situate what your doing in your studio. Building up a portfolio of images as well as texts. Start doing short bits of writing in response to reading.
Whitechapel documents of contemporary art - books good sources of reading critical texts. The sublime. Painting. Beauty. Likely one will be relevant to practice. Focus on contemporary art.
Look at texts from all eras, main link might be contemporary but how was that derived where it has come from.
Choose same subject as studio practice, don't need to do loads of different research for presentation, studio work, and text. Keep it all interlinked.
Look at around 2/3/4 case studies.
Use images when talking about anything in detail. Having an image means you don't have to visually describe the work.
Looking at an aspect of contemporary art practice. Theme has to link to own studio work that you feel is a contemporary issue. Each practice straddles more than just one concern. Essay looks at only one. Essay is not meant to sum up your practice. Meant to emerge from practice. Is there a critical one or more theme that is important for your work? Aesthetics and the body - used to be highly argued and discussed, not so much anymore.
Not one but two or three ideas that interlink. What you'll end up doing is explore several adjacent and complementary areas but something that sticks out and links them that you will look at in the essay.
Gallery: what you have done, intentions, how it relates to critical ideas and contemporary themes in fine art practice. Put up on the wall piece of artwork, talk to small audience for 5 mins. Text to accompany it. Text could be something detailed and complex - something like a mini extract from a piece of critical writing. Supports what your going to say, sort of thing someone might encounter in a gallery or museum. Might be brief. Leaflet, artist statement. Whatever you decide - Why that's an appropriate way of doing it. Press release. Leaflet. Standard. Other people, experiments or objects with text.
Presentations are not assessed. Work leading up to it is even more important. Maybe the script is your leaflet and what you say is more engaging. Live event. About you delivering something. Tiny details like what your wearing and body language. Is it relevant? Extraordinarily long unit, masses of themes, masses of work. Result is a lot of different things going on - difficult. Single emerging studio project and single text.
Continuation of lecture:
David lynch blue velvet - drift and collapse vision of the everyday happy and secure, domestic, identifiable, into the dark underbelly of that world.filmic version of reality, idealised. American culture seen through images no experience. More reassuring it is the more unsettling it will be hiding.
How do we view the everyday? Working with the everyday - necessary, unable to cope without everyday. Most of us live lives with routine and repetition. Primary resource. Stability.
Do something you do everyday and observe yourself think about it when usually you wouldn't. Keep a diary about the experience. Eg Alan Kaprow, brushing teeth.
Familiarit of the everyday means the audience can relate to it. Gallery usually shows something unique, when showing something everyday and you understand and can relate to it. Comforting.
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