3rd November- Text and writing group crit
3rd November-
Text and writing group crit /Tutorial
As I was the only person that turned up to this thematic crit it turned into more of a tutorial. This was so helpful as I am currently in a position where I need to decide how I am going to present my written work with my visual work. I am producing various pieces of work and each are a different aspect of a entire concept that my practice centres upon.
This tutorial uncovered many resources and writing publications that I could reference to inform my work. This is not only interesting for content but also the ways in which I can display my work. I plan to research these different publications and alternative art associations. This is something I would love to be part of and begin to associate with. I would love for my work to be used as a creative education tool to aid the development of the creative mind. As I already do politically engaged writing my work may act as a practical extension of this.
The issue I am currently facing is the practicality of this and how I extend my work to reach further than the gallery space to get a positive creative message across.
However, one outcome of the crit/tutorial was encouragement to make as much work as possible and continue with the tiles as they are an interesting interpretation of context and text/writing in work.
Tutorial Notes: Discussed the role of writing and political writing, and how the ceramic tiles exist as cathartic objects. These are meant to be approachable and non threatening to the audience. Also, the rewriting of the climate change assessment document. Bob and Roberts smith, the art party Alternative art schools ... Article on Axis and also a-n magazine Tate archive online also has material on art education in schools. Look at Frieze magazine specials on politics, and articles on radical educational initiatives. Also Engage magazine on education in art galleries.
Next Steps: The poems could be presented as text, on the wall, as audio recordings or as performance maybe. They are important in order to inflect the tiles and communicate their meaning. Different works within an exhibition can affect each other's meanings. So the combination of works is really important. Can you think of the totality of all of your activities as a whole, bringing together the writing, making, activism etc and then communicating the whole message? Having a voice and using it is always important, and you may need to do a bit of explaining of basic terminology for your audience.
After this tutorial I looked into Bob and Roberta Smith due to the ability thier art has to link text with visuality.
http://bobandrobertasmith.co.uk/
http://bobandrobertasmith.co.uk/art-party-video-tim-newton/
https://frieze.com/fair-programme/listen-activity-lifetime
Implement not produce
Text and writing group crit /Tutorial
As I was the only person that turned up to this thematic crit it turned into more of a tutorial. This was so helpful as I am currently in a position where I need to decide how I am going to present my written work with my visual work. I am producing various pieces of work and each are a different aspect of a entire concept that my practice centres upon.
This tutorial uncovered many resources and writing publications that I could reference to inform my work. This is not only interesting for content but also the ways in which I can display my work. I plan to research these different publications and alternative art associations. This is something I would love to be part of and begin to associate with. I would love for my work to be used as a creative education tool to aid the development of the creative mind. As I already do politically engaged writing my work may act as a practical extension of this.
The issue I am currently facing is the practicality of this and how I extend my work to reach further than the gallery space to get a positive creative message across.
However, one outcome of the crit/tutorial was encouragement to make as much work as possible and continue with the tiles as they are an interesting interpretation of context and text/writing in work.
Tutorial Notes: Discussed the role of writing and political writing, and how the ceramic tiles exist as cathartic objects. These are meant to be approachable and non threatening to the audience. Also, the rewriting of the climate change assessment document. Bob and Roberts smith, the art party Alternative art schools ... Article on Axis and also a-n magazine Tate archive online also has material on art education in schools. Look at Frieze magazine specials on politics, and articles on radical educational initiatives. Also Engage magazine on education in art galleries.
Next Steps: The poems could be presented as text, on the wall, as audio recordings or as performance maybe. They are important in order to inflect the tiles and communicate their meaning. Different works within an exhibition can affect each other's meanings. So the combination of works is really important. Can you think of the totality of all of your activities as a whole, bringing together the writing, making, activism etc and then communicating the whole message? Having a voice and using it is always important, and you may need to do a bit of explaining of basic terminology for your audience.
After this tutorial I looked into Bob and Roberta Smith due to the ability thier art has to link text with visuality.
http://bobandrobertasmith.co.uk/
http://bobandrobertasmith.co.uk/art-party-video-tim-newton/
https://frieze.com/fair-programme/listen-activity-lifetime
Implement not produce
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