Research- Lecture
Staging
Lecture notes, seminar reflections and further research on class and staging within art presentation
'The everyday is not selling well in the art world these days'
'But when that economy collapses the surviving subjects move into a more tactical sphere, embracing new methods of production in ephemeral situations' Francesco Bonami 2009
The presentation of the work can be just as vital as the work itself. During current political situations, demanding a response from the intellectual sphere. A tactical or creative response within the modern sphere may be needed. Economic downfall is said to aid artists as it forces them to utilize certain funding more. However, creative thinking would be more useful before the downfall, not afterward. Artwork was once very much intertwined with the middle class, therefore the ruling class also. Arguably, as Dada, avant-garde and surrealism influenced how creativity took hold. The presence of modern art in the upper classes reduced. therefore removing creative thinkers.
Great exhibition-crystal palace 1851 designed for masses of people to see a lot of of art and methods of production. In contrast the 'white cube' gallery. Argument then arises for how the modern viewer interacts with the work. The new gallery spaces are more deigned to emphasis thought regarding the art yet the older spaces prove more friendly to the masses. As the early 20th century begun, shop windows and street exhibitions emerged.
https://www.theguardian.com/artanddesign/2015/nov/23/middle-class-people-dominate-arts-survey-finds
'The survey reinforced the recent findings of the Warwick Commission, which found that arts and culture was being “systematically remove from the state education system, and that arts audiences were predominantly white and middle class. Both factors were contributing to the creative sector becoming a closed shop, particularly to those from black, asian and ethnic minorities (BAME) and less affluent backgrounds.'
With global expansion and gloabisation. The classic British class system is challenged, therefore it is difficult to pin point class as a main cause/issue within the 'ranks' many see themselves within. The capitalist structure has much to answer for in regard of corperate greed and favour for ever growing compamies and little interest in the lesser orofitable 'crative sphere'.
http://www.telegraph.co.uk/culture/art/art-features/10117264/Grayson-Perry-Taste-is-woven-into-our-class-system.html
'As with many aspects of our behaviour, a lot of the interesting stuff happens when we think we are not even making a decision. It’s those default settings we all have, those unexamined “natural” and “normal” choices, which often say the most about us'
Although this article touched on some vital aspects of class and specifically modern class, I had trouble with the lack of depth given as to why many make decisions. A love of cars or organic does not always stem from class or upbringing but possibly education or desire. Therefore, in an ever such mobile world, the class system can become more muddled that suggested here. Wealth and class are also not to be confused as many do these days presuming that a wage packet will remove your classically 'rough' roots from within you. As an artist, many view the art world as a middle class play ground. However, in my experience I have met sufferers of such hardship and difficulty that no individual should ever be reduced to a label of class. However, lesser focused on class and more upon social perception, this article allowed me to realise the difficulty in removing class labels. Allowing art to become accessible to speak to the masses.
The everyday hypocrisy of creation of new objects instead of focusing on the issues with production of existing ones. As staging progressed through Dada 'media hijack' became a new form of exhibition. Deliberate scorn on society.
The develop this concept within my own work/ curation. The use of mirrors to deflect from the work and show the viewer their own or others reflection. Therefore a conscious effort must be made to get into position to see the piece of work. Through this process the viewer would also be forced to view others around them. Realising that the piece of work is little without its surroundings.
Planning how my work will be perceived and received are vital aspects of my practice due to the fact that the majority is aiming to be psychologically engaged as well as socially engaged.
Lecture notes, seminar reflections and further research on class and staging within art presentation
'The everyday is not selling well in the art world these days'
'But when that economy collapses the surviving subjects move into a more tactical sphere, embracing new methods of production in ephemeral situations' Francesco Bonami 2009
The presentation of the work can be just as vital as the work itself. During current political situations, demanding a response from the intellectual sphere. A tactical or creative response within the modern sphere may be needed. Economic downfall is said to aid artists as it forces them to utilize certain funding more. However, creative thinking would be more useful before the downfall, not afterward. Artwork was once very much intertwined with the middle class, therefore the ruling class also. Arguably, as Dada, avant-garde and surrealism influenced how creativity took hold. The presence of modern art in the upper classes reduced. therefore removing creative thinkers.
Great exhibition-crystal palace 1851 designed for masses of people to see a lot of of art and methods of production. In contrast the 'white cube' gallery. Argument then arises for how the modern viewer interacts with the work. The new gallery spaces are more deigned to emphasis thought regarding the art yet the older spaces prove more friendly to the masses. As the early 20th century begun, shop windows and street exhibitions emerged.
https://www.theguardian.com/artanddesign/2015/nov/23/middle-class-people-dominate-arts-survey-finds
'The survey reinforced the recent findings of the Warwick Commission, which found that arts and culture was being “systematically remove from the state education system, and that arts audiences were predominantly white and middle class. Both factors were contributing to the creative sector becoming a closed shop, particularly to those from black, asian and ethnic minorities (BAME) and less affluent backgrounds.'
With global expansion and gloabisation. The classic British class system is challenged, therefore it is difficult to pin point class as a main cause/issue within the 'ranks' many see themselves within. The capitalist structure has much to answer for in regard of corperate greed and favour for ever growing compamies and little interest in the lesser orofitable 'crative sphere'.
http://www.telegraph.co.uk/culture/art/art-features/10117264/Grayson-Perry-Taste-is-woven-into-our-class-system.html
'As with many aspects of our behaviour, a lot of the interesting stuff happens when we think we are not even making a decision. It’s those default settings we all have, those unexamined “natural” and “normal” choices, which often say the most about us'
Although this article touched on some vital aspects of class and specifically modern class, I had trouble with the lack of depth given as to why many make decisions. A love of cars or organic does not always stem from class or upbringing but possibly education or desire. Therefore, in an ever such mobile world, the class system can become more muddled that suggested here. Wealth and class are also not to be confused as many do these days presuming that a wage packet will remove your classically 'rough' roots from within you. As an artist, many view the art world as a middle class play ground. However, in my experience I have met sufferers of such hardship and difficulty that no individual should ever be reduced to a label of class. However, lesser focused on class and more upon social perception, this article allowed me to realise the difficulty in removing class labels. Allowing art to become accessible to speak to the masses.
The everyday hypocrisy of creation of new objects instead of focusing on the issues with production of existing ones. As staging progressed through Dada 'media hijack' became a new form of exhibition. Deliberate scorn on society.
The develop this concept within my own work/ curation. The use of mirrors to deflect from the work and show the viewer their own or others reflection. Therefore a conscious effort must be made to get into position to see the piece of work. Through this process the viewer would also be forced to view others around them. Realising that the piece of work is little without its surroundings.
Planning how my work will be perceived and received are vital aspects of my practice due to the fact that the majority is aiming to be psychologically engaged as well as socially engaged.
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