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im blank.
...does there have to be a blurb to explain the work?
-hypothesis>....yes this is a HE course get over it
Skinners motivational theory - i am not inspired to write this synopsis because past similar activities (chores) have not induced pleasure. Im not happy with explaining/contextualising/researching my work within the institutional constructs of a scholarly essay... (structuralism/post structuralism link)
Toni's nearly finished hers and said my advice worked; to use the essay as an opportunity for growth, fun and exploration. time to take own advice.
It involves listening to loud punk music..wahey
Ok heres first draft..
DEVELOPMENTAL RESEARCH SYNOPSIS
I am going to explore and break down relevant theories and debates that relate to my art practice to be able to formulate a statement that expresses my personal philosophy and underpins my work.
My work is about finding and exploring something fresh and alive. It is focused around a planned act or chemistry of a moment that can only be experienced by those present at the site. Photography is used to document the work.
My work is constantly changing theoretically and therefore visually, I am a de-centred practitioner working on multiple themes with an indistinct style running through all of my work. I am constantly journeying, understanding, testing and hypothesizing concepts whilst, running parrallel, am attempting to express a concept relatively and objectively.
I appreciate the controversial, innovative and ritualistic performances of Joseph Beuys and will investigate Beuys essays, ‘Not just a few are called, but everyone,’ and ‘I am searching for Field Vision.’ Strangely, Beuys created his public persona from fact and fiction, this self-appointed personal stance thread takes some of the objectivity away from the viewer. Yet this subjectivity may have been a prerequisite to his further works, in a similar way to my semester 3 (which in hindsight are art as therapy) creations. Art Theorist, Benjamin Buchloh criticises Beuys retreat into myths and symbolism and criticises Beuys’ rhetoric, calling it, ‘simple minded, utopian drivel’. I will take into account Rosalind Krauss’s writings on Beuys and link this to my work.
Following the above, I see myself as having re-accessed art at the beginning of Semester 4. Although absorbing and participating in Semester 3, my creations and thoughts were within the ‘art as therapy’ bracket, which was necessary at that time. I had to test the limits of art as therapy in a similar way to testing painting and printmaking as an artform to be able to put them to rest and to move on. I have rejected pretty pictures.I am interested in art being a way of life and how much art and life can infringe and harmonise with each other. This links with ideological political philosophies that I feel in the right place to be able to realise, encourage, disentangle and reformulate.
My current main project is creating public dens that are habitable yet initially uninhabited. The aesthetic is predetermined by the site and by the found objects used to create the den and the control is a piece of vintage fabric, usually used for the dens roof. The touch of intention upon initialising this project was to change spaces and integrate these spaces into the environment, with intention to leave the dens after initial creation to be evolved, de-created or untouched by the public, institution workers and nature.
I am interested in what happens to the dens post-creation and am going to attempt summarising this with reference to Barthes essay, ‘From work to text.’
now i just need to clean that up and add images..
1) Is this PERSONAL DEVELOPMENT PLANNING MODULE some kind of self assessment to assist the tutors and examining body in their assessment of your work?
ReplyDelete2) If so does this mean that they don't have to give you so much one to one contact at college for this assessment and can cut back on staff?
3) DIY BA?
4) Artbabble for the poor?
5) Yes! Art is a way of life.
6) Try Jonathan Richman and the Modern lovers 'Pablo Picasso'
Oh I think I owed you this:
ReplyDeletePublished in: Robert Lebel: Marcel Duchamp. New York: Paragraphic Books, 1959, pp. 77/78.
Session on the Creative Act
Convention of the American Federation of Arts
Houston, Texas
April 1957
Participants:
Professor Seitz, Princeton University
Professor Arnheim, Sarah Lawrence College
Gregory Bateson, anthropologist
Marcel Duchamp, mere artist
THE CREATIVE ACT
by Marcel Duchamp
Let us consider two important factors, the two poles of the creation of art: the artist on the one hand, and on the other the spectator who later becomes the posterity.
To all appearances, the artist acts like a mediumistic being who, from the labyrinth beyond time and space, seeks his way out to a clearing. If we give the attributes of a medium to the artist, we must then deny him the state of consciousness on the esthetic plane about what he is doing or why he is doing it. All his decisions in the artistic execution of the work rest with pure intuition and cannot be translated into a self-analysis, spoken or written, or even thought out.
T.S. Eliot, in his essay on "Tradition and Individual Talent", writes: "The more perfect the artist, the more completely separate in him will be the man who suffers and the mind which creates; the more perfectly will the mind digest and transmute the passions which are its material."
Millions of artists create; only a few thousands are discussed or accepted by the spectator and many less again are consecrated by posterity.
In the last analysis, the artist may shout from all the rooftops that he is a genius: he will have to wait for the verdict of the spectator in order that his declarations take a social value and that, finally, posterity includes him in the primers of Artist History.
I know that this statement will not meet with the approval of many artists who refuse this mediumistic role and insist on the validity of their awareness in the creative act – yet, art history has consistently decided upon the virtues of a work of art through considerations completely divorced from the rationalized explanations of the artist.
If the artist, as a human being, full of the best intentions toward himself and the whole world, plays no role at all in the judgment of his own work, how can one describe the phenomenon which prompts the spectator to react critically to the work of art? In other words, how does this reaction come about?
This phenomenon is comparable to a transference from the artist to the spectator in the form of an esthetic osmosis taking place through the inert matter, such as pigment, piano or marble.
But before we go further, I want to clarify our understanding of the word 'art' - to be sure, without any attempt at a definition.
What I have in mind is that art may be bad, good or indifferent, but, whatever adjective is used, we must call it art, and bad art is still art in the same way that a bad emotion is still an emotion.
Therefore, when I refer to 'art coefficient', it will be understood that I refer not only to great art, but I am trying to describe the subjective mechanism which produces art in the raw state – à l'état brut – bad, good or indifferent.
In the creative act, the artist goes from intention to realization through a chain of totally subjective reactions. His struggle toward the realization is a series of efforts, pains, satisfaction, refusals, decisions, which also cannot and must not be fully self-conscious, at least on the esthetic plane.
The result of this struggle is a difference between the intention and its realization, a difference which the artist is not aware of.
Consequently, in the chain of reactions accompanying the creative act, a link is missing. This gap, representing the inability of the artist to express fully his intention, this difference between what he intended to realize and did realize, is the personal 'art coefficient' contained in the work.
In other words, the personal 'art coefficient' is like an arithmetical relation between the unexpressed but intended and the unintentionally expressed.
To avoid a misunderstanding, we must remember that this 'art coefficient' is a personal expression of art à l'état brut, that is, still in a raw state, which must be 'refined' as pure sugar from molasses by the spectator; the digit of this coefficient has no bearing whatsoever on his verdict. The creative act takes another aspect when the spectator experiences the phenomenon of transmutation: through the change from inert matter into a work of art, an actual transubtantiation has taken place, and the role of the spectator is to determine the weight of the work on the esthetic scale.
All in all, the creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualification and thus adds his contribution to the creative act. This becomes even more obvious when posterity gives a final verdict and sometimes rehabilitates forgotten artists.