One way of reaching new audiences is through self publishing. There are two very good sites for this.
http://www.lulu.com/
www.blurb.com
You can have individual bound copies made for very reasonable prices and then order more when you have a need for them. Perhaps I'm in a book mind at the moment. I'm looking at Charlotte Salomon's 'Life? or Theatre?' If I get too stressed this book is a life saver. You know when they ask you "which book would you take to your desert island" well this is mine.
Tuesday, 28 April 2009
Friday, 24 April 2009
Just in from James Hill. This is a great opportunity.
Just a reminder to you all that, if you're planning to submit an Expressionof Interest Form to take part in this year's Light Night as an artist, the deadline for submission is fast approaching - 30th April. Forms can be downloaded from the website: http://www.lightnightleeds.co.uk If you'd like to talk through your idea first, please call James Hill on(0113) 247 8234 or email James.Hill@leeds.gov.uk Don't forget to put as much information as possible on your form as this is what will be used to write the information for the Light Night information brochure. If you've already sent your form in, thank you! We've had loads of amazing ideas but would like to hear more. If you know anyone who's not on LVAF (fools!) but might be interested in getting involved, then pass the message on. Love, the Light Night team. x www.lightnightleeds.co.uk
Just a reminder to you all that, if you're planning to submit an Expressionof Interest Form to take part in this year's Light Night as an artist, the deadline for submission is fast approaching - 30th April. Forms can be downloaded from the website: http://www.lightnightleeds.co.uk If you'd like to talk through your idea first, please call James Hill on(0113) 247 8234 or email James.Hill@leeds.gov.uk Don't forget to put as much information as possible on your form as this is what will be used to write the information for the Light Night information brochure. If you've already sent your form in, thank you! We've had loads of amazing ideas but would like to hear more. If you know anyone who's not on LVAF (fools!) but might be interested in getting involved, then pass the message on. Love, the Light Night team. x www.lightnightleeds.co.uk
A couple of interesting stories from the Guardian this week that could be useful in terms of thinking about public and audiences.
A new public sculpture for St Helens is unveiled, Dream by Jaume Plensa http://www.guardian.co.uk/artanddesign/2009/apr/22/dream-jaume-plensa-st-helens
I little while ago I posted a link to a Guardian article on how empty shops in the high street were being seen as potential exhibition sites, things seemed to have moved on quickly and as the article states, “Giving artists space on the high street helps demystify the process of creating art, taking it away from the private studio and putting it into the shop front; spaces don't come much more accessible than your former Marks & Spencer or Woolies. How many people outside the art world ever get the chance to see an artist at work?” http://www.guardian.co.uk/artanddesign/2009/apr/23/artists-take-over-empty-shops
This looks as if it could be a very good opportunity for someone with a bit of initiative.
Usually public art is dealt with by setting up commissions such as this one http://www.lanarts.com/?q=node/2463 The contact for this commission is Vanessa Scarth the public arts officer for Leeds. It would be interesting to find out if she has any plans or suggestions for how artists could be responding to the ‘space on the high street’ agenda.
A new public sculpture for St Helens is unveiled, Dream by Jaume Plensa http://www.guardian.co.uk/artanddesign/2009/apr/22/dream-jaume-plensa-st-helens
I little while ago I posted a link to a Guardian article on how empty shops in the high street were being seen as potential exhibition sites, things seemed to have moved on quickly and as the article states, “Giving artists space on the high street helps demystify the process of creating art, taking it away from the private studio and putting it into the shop front; spaces don't come much more accessible than your former Marks & Spencer or Woolies. How many people outside the art world ever get the chance to see an artist at work?” http://www.guardian.co.uk/artanddesign/2009/apr/23/artists-take-over-empty-shops
This looks as if it could be a very good opportunity for someone with a bit of initiative.
Usually public art is dealt with by setting up commissions such as this one http://www.lanarts.com/?q=node/2463 The contact for this commission is Vanessa Scarth the public arts officer for Leeds. It would be interesting to find out if she has any plans or suggestions for how artists could be responding to the ‘space on the high street’ agenda.
Thursday, 23 April 2009
For those of you interested in public art, go to the link below for a set of downloadable guidelines and policies. You may find it useful as if and when any of you get involved in this type of work (and it is a growing area) you will have to be aware of any policy documents associated with the agency/s you would be working with.
http://www.publicartonline.org.uk/resources/practicaladvice/policiesguidance/policies_outside_uk/landcom.php
http://www.publicartonline.org.uk/resources/practicaladvice/policiesguidance/policies_outside_uk/landcom.php
Tuesday, 21 April 2009
East Street Arts is an organisation all of you should be aware of. This is their latest posting.
UNITED
Eight weeks of events exploring the status of `the artist' incontemporary arts activity Organised by: East Street Arts (ESA), Leeds
Dates: Friday 1 May – Saturday 27 June 2009
Times: Events have set dates/times, please see www.esaweb.org.uk<http://www.esaweb.org.uk/> for details
Price: FREE ADMISSION / Fully AccessibleVenue: Various centres around Leeds - please see www.esaweb.org.uk<http://www.esaweb.org.uk/> for details
Using contemporary arts practitioners as a starting point, ESA explores how collective and collaborative events can take shape to express andshare ideas. Involving a whole host of artists both from Leeds and further afield and referencing workers unions and other representative bodies, UNITED will examine how the professional field of art operates without formal structures, resulting in a supportive and independentseries of events that reflect the artist-driven sector and the many facets of social networks.UNITED highlights include London based Daniel Lehan and Leeds artists/designers Nous Vous hosting a weekend workshop event that will precede a march through the city centre of Leeds exploring notions of identity within the workforce and blurring the boundaries of`artist' and `participant'; Leeds based artists Kristy Noble and Tom Poultney's exhibition Day Off questioning virtual networksand asking if these new communication channels have overtaken traditional leisure pursuits and local artist Megan Smith's performance which will focus on the contemporary experience of operating within multiple locations, cultures and spaces simultaneously by using her Second Life avatar to embody this digital domain.
For the full UNITED programme, please see www.esaweb.org.uk<http://www.esaweb.org.uk/>
UNITED
Eight weeks of events exploring the status of `the artist' incontemporary arts activity Organised by: East Street Arts (ESA), Leeds
Dates: Friday 1 May – Saturday 27 June 2009
Times: Events have set dates/times, please see www.esaweb.org.uk<http://www.esaweb.org.uk/> for details
Price: FREE ADMISSION / Fully AccessibleVenue: Various centres around Leeds - please see www.esaweb.org.uk<http://www.esaweb.org.uk/> for details
Using contemporary arts practitioners as a starting point, ESA explores how collective and collaborative events can take shape to express andshare ideas. Involving a whole host of artists both from Leeds and further afield and referencing workers unions and other representative bodies, UNITED will examine how the professional field of art operates without formal structures, resulting in a supportive and independentseries of events that reflect the artist-driven sector and the many facets of social networks.UNITED highlights include London based Daniel Lehan and Leeds artists/designers Nous Vous hosting a weekend workshop event that will precede a march through the city centre of Leeds exploring notions of identity within the workforce and blurring the boundaries of`artist' and `participant'; Leeds based artists Kristy Noble and Tom Poultney's exhibition Day Off questioning virtual networksand asking if these new communication channels have overtaken traditional leisure pursuits and local artist Megan Smith's performance which will focus on the contemporary experience of operating within multiple locations, cultures and spaces simultaneously by using her Second Life avatar to embody this digital domain.
For the full UNITED programme, please see www.esaweb.org.uk<http://www.esaweb.org.uk/>
Monday, 6 April 2009
Louisa here
Everyone who came to a tutorial has a good idea of what I would like them to present for assessment. Anyone who missed a tutorial can email me on lmp.audiences@yahoo.co.uk
Louisa again, please send me any Stimpy URls, I still have two or three missing.
Everyone who came to a tutorial has a good idea of what I would like them to present for assessment. Anyone who missed a tutorial can email me on lmp.audiences@yahoo.co.uk
Louisa again, please send me any Stimpy URls, I still have two or three missing.
Audiences assessment
Deadline for this module is 9.30am 12th May.
Feedback week beginning 18th May. Feedback times will be posted and I presume linked to the times for feedback for your materials module.
What you will need to present.
For people not using a blog. Journals, art work done in direct response to the brief, sketchbooks and written report/evaluation/rationale.
For people using a blog. It could be all of the above if you feel the blog does not represent what you have done. However if the blog is a thorough reflection that includes comprehensive illustrations it may be just the blog. It’s your call, but remember it’s always better to be cautious and a belt and braces approach is fine. If it is just the blog, we need to know this is a conscious choice. So for assessment you need to put up an A4 print-off of your name, name and full URL address of your blog and a statement that says that all of the evidence for the assessment is contained on your blog.
A reminder of the brief outcomes.
For 20 marks. Apply and research primary and secondary sources
A primary source could be a particular site you have visited. So application of this might be your work sited in this place or a drawing/collage etc demonstrating how your work would look if sited there. A secondary source could be a book on a particular artist or a web-site. Again it needs to be applied, so an image that demonstrates that you were responding to the research done would be useful. In particular a reflection on how well or badly the piece worked adds to the evidence.
For 40 marks. Explore the contextual and professional location of their creative practice and its relationship to publics and audiences.
This exploration is both practical and theoretical. The contextual and professional location obviously points to work done such as reflecting on galleries and public art works. It also suggests that you have engaged with the wider debate as to what the profession entails; curation, the role of the critic, dealer etc etc and how audiences may receive / understand what is happening. It is also expected that you will have done something practical in response to this. Again this may be work sited in public, proposals for work or a reflection on why your work is not suitable for public reception.
For 40 marks. Realise a synthesis between concept and creative practice
This is the area where you need to position your work. Positioning work is about taking a stance. E.g. My work is shown in this way because… We will be looking for work that clearly demonstrates that it is the result of explorative thinking and looking. We will be looking for work that is a result of engaging with the main theoretical elements of the module. This includes presentation, so if you are not actually presenting artwork, you will need to show how you have thought about this. It may be that the way you are presenting the work for the materials module is a result of thinking done in audiences. If this is the case an annotated photograph or reflection within the blog could act as evidence.
So to summarise. The marks will be derived from a combination of evidence.
Studio practice is often evidenced through performance or portfolio of images. The blog should therefore consist of images as well as text. The images should evidence both contextual and professional location of practice, (i.e. all the stuff collected and responded to when thinking about exhibition site and context) as well as showing some actual work or proposed work that evidences a synthesis between concept and creative practice. (This could be a series of collages that demonstrates how your work would look if shown on the High Street)
Project report minimum 500 words, could be the actual text of your blog. 500 words would be a minimum, I would expect if you keep a blog up to be rather more than that. One way you might want to think of your report is as a last blog entry. If writing a report on paper, please can it be word processed?
I will be looking at REN and Louisa at STIMPY, but we will also do some double marking as standardisation. I will paste my written feedback into your last blog’s comment box. You will also get your feedback in the traditional way.
All modules are supposed to receive feedback from students as to how it went etc You will be getting those module feedback sheets to fill in as normal, but they don’t record any actual issues and only reflect a numerical statistic. So it would be useful if finally you could give us some feedback on the module. The easiest way to do this is to use the comment box attached to this blog. In particular we are interested in how you responded to the blog format.
Also if you cant find your blog address in the list at the front of my blog, it means I havnt found your blog yet. Please send me your URL!!
Finally. Don’t forget to look at the old posts on this blog. I have tried to spend 15 minutes a day inputting information that might be useful. So if you don’t know what to reflect on just respond to some of my stuff. The other issue is that other students are doing this. Make sure you look at what they are saying and doing. The point about this technology is that you can share. You may of course take the opportunity to feedback on my blog. What should it have included? Was it any use to you? Should we continue with this in the future?
A few resources that you may find useful in thinking about how to link practice with theory.
The best contemporary book on curating is O'Neill, P. Ed. (2007) Curating Subjects London: Open Editions
If you want to look at just one book on public art you could try Eccles, T (2004) PLOP Recent projects of the Public Art Fund London: Merrell. The book just looks at New York and these are mainly temporary installations. However it might be interesting to reflect on how the works illustrated would be received by a Leeds audience.
If you are thinking about how important location is when trying to communicate with your audience try Massey, D (2006) For Space London: Sage. She argues that space is where politics, social change, co-existence with others and the imagination resides. It is therefore vital for us to situate space at the centre of our awareness of audience. Where people engage with information can be as important as the information itself.
Useful web links that may help you think about issues related to Audiences.
Constructing audiences, defining art. Public Art and social research. http://eipcp.net/transversal/0102/buchholzwuggenig/en/print
On Northern art audiences. People in the north of England are not sophisticated enough to appreciate major works of art, it has been claimed. http://news.bbc.co.uk/1/hi/talking_point/2658785.stm
Conceptual art and contemporary audiences http://www.kellysherman.net/images/MartensKatelyn-ConceptualArtAndContemporaryAudience.pdf
Viewing the viewers An Ethnographic Study of Contemporary Visual Art Audiences. http://www.museumsaustralia.org.au/UserFiles/File/National%20Conference/2007/JanineSager_ConferencePaper07.pdf
Go to http://www.jstor.org if you want to research journals. A useful journal article is: European Journal of Cultural Studies, Vol. 10, No. 2, 203-223 (2007) Contemporary art's audiences. Specialist accreditation and the myth of inclusion by Spyros Sifakakis
Some books that examine the art world and its audiences
Derrick Chong in Iain Robertson, Understanding International Art Markets And Management, Routledge, 2005
Chin-Tao Wu, Privatising Culture: Corporate Art Intervention Since the 1980s, Verso, 2002
Peter Timms, What's Wrong with Contemporary Art?, UNSW Press, 2004
George E. Marcus and Fred R. Myers, The Traffic in Culture: Refiguring Art and Anthropology, University of California Press, 1995
Mary Jane Jacob and Michael Brenson, Conversations at the Castle: Changing Audiences and Contemporary Art, MIT Press, 1998
http://www.garrybarkeronline.com/
Deadline for this module is 9.30am 12th May.
Feedback week beginning 18th May. Feedback times will be posted and I presume linked to the times for feedback for your materials module.
What you will need to present.
For people not using a blog. Journals, art work done in direct response to the brief, sketchbooks and written report/evaluation/rationale.
For people using a blog. It could be all of the above if you feel the blog does not represent what you have done. However if the blog is a thorough reflection that includes comprehensive illustrations it may be just the blog. It’s your call, but remember it’s always better to be cautious and a belt and braces approach is fine. If it is just the blog, we need to know this is a conscious choice. So for assessment you need to put up an A4 print-off of your name, name and full URL address of your blog and a statement that says that all of the evidence for the assessment is contained on your blog.
A reminder of the brief outcomes.
For 20 marks. Apply and research primary and secondary sources
A primary source could be a particular site you have visited. So application of this might be your work sited in this place or a drawing/collage etc demonstrating how your work would look if sited there. A secondary source could be a book on a particular artist or a web-site. Again it needs to be applied, so an image that demonstrates that you were responding to the research done would be useful. In particular a reflection on how well or badly the piece worked adds to the evidence.
For 40 marks. Explore the contextual and professional location of their creative practice and its relationship to publics and audiences.
This exploration is both practical and theoretical. The contextual and professional location obviously points to work done such as reflecting on galleries and public art works. It also suggests that you have engaged with the wider debate as to what the profession entails; curation, the role of the critic, dealer etc etc and how audiences may receive / understand what is happening. It is also expected that you will have done something practical in response to this. Again this may be work sited in public, proposals for work or a reflection on why your work is not suitable for public reception.
For 40 marks. Realise a synthesis between concept and creative practice
This is the area where you need to position your work. Positioning work is about taking a stance. E.g. My work is shown in this way because… We will be looking for work that clearly demonstrates that it is the result of explorative thinking and looking. We will be looking for work that is a result of engaging with the main theoretical elements of the module. This includes presentation, so if you are not actually presenting artwork, you will need to show how you have thought about this. It may be that the way you are presenting the work for the materials module is a result of thinking done in audiences. If this is the case an annotated photograph or reflection within the blog could act as evidence.
So to summarise. The marks will be derived from a combination of evidence.
Studio practice is often evidenced through performance or portfolio of images. The blog should therefore consist of images as well as text. The images should evidence both contextual and professional location of practice, (i.e. all the stuff collected and responded to when thinking about exhibition site and context) as well as showing some actual work or proposed work that evidences a synthesis between concept and creative practice. (This could be a series of collages that demonstrates how your work would look if shown on the High Street)
Project report minimum 500 words, could be the actual text of your blog. 500 words would be a minimum, I would expect if you keep a blog up to be rather more than that. One way you might want to think of your report is as a last blog entry. If writing a report on paper, please can it be word processed?
I will be looking at REN and Louisa at STIMPY, but we will also do some double marking as standardisation. I will paste my written feedback into your last blog’s comment box. You will also get your feedback in the traditional way.
All modules are supposed to receive feedback from students as to how it went etc You will be getting those module feedback sheets to fill in as normal, but they don’t record any actual issues and only reflect a numerical statistic. So it would be useful if finally you could give us some feedback on the module. The easiest way to do this is to use the comment box attached to this blog. In particular we are interested in how you responded to the blog format.
Also if you cant find your blog address in the list at the front of my blog, it means I havnt found your blog yet. Please send me your URL!!
Finally. Don’t forget to look at the old posts on this blog. I have tried to spend 15 minutes a day inputting information that might be useful. So if you don’t know what to reflect on just respond to some of my stuff. The other issue is that other students are doing this. Make sure you look at what they are saying and doing. The point about this technology is that you can share. You may of course take the opportunity to feedback on my blog. What should it have included? Was it any use to you? Should we continue with this in the future?
A few resources that you may find useful in thinking about how to link practice with theory.
The best contemporary book on curating is O'Neill, P. Ed. (2007) Curating Subjects London: Open Editions
If you want to look at just one book on public art you could try Eccles, T (2004) PLOP Recent projects of the Public Art Fund London: Merrell. The book just looks at New York and these are mainly temporary installations. However it might be interesting to reflect on how the works illustrated would be received by a Leeds audience.
If you are thinking about how important location is when trying to communicate with your audience try Massey, D (2006) For Space London: Sage. She argues that space is where politics, social change, co-existence with others and the imagination resides. It is therefore vital for us to situate space at the centre of our awareness of audience. Where people engage with information can be as important as the information itself.
Useful web links that may help you think about issues related to Audiences.
Constructing audiences, defining art. Public Art and social research. http://eipcp.net/transversal/0102/buchholzwuggenig/en/print
On Northern art audiences. People in the north of England are not sophisticated enough to appreciate major works of art, it has been claimed. http://news.bbc.co.uk/1/hi/talking_point/2658785.stm
Conceptual art and contemporary audiences http://www.kellysherman.net/images/MartensKatelyn-ConceptualArtAndContemporaryAudience.pdf
Viewing the viewers An Ethnographic Study of Contemporary Visual Art Audiences. http://www.museumsaustralia.org.au/UserFiles/File/National%20Conference/2007/JanineSager_ConferencePaper07.pdf
Go to http://www.jstor.org if you want to research journals. A useful journal article is: European Journal of Cultural Studies, Vol. 10, No. 2, 203-223 (2007) Contemporary art's audiences. Specialist accreditation and the myth of inclusion by Spyros Sifakakis
Some books that examine the art world and its audiences
Derrick Chong in Iain Robertson, Understanding International Art Markets And Management, Routledge, 2005
Chin-Tao Wu, Privatising Culture: Corporate Art Intervention Since the 1980s, Verso, 2002
Peter Timms, What's Wrong with Contemporary Art?, UNSW Press, 2004
George E. Marcus and Fred R. Myers, The Traffic in Culture: Refiguring Art and Anthropology, University of California Press, 1995
Mary Jane Jacob and Michael Brenson, Conversations at the Castle: Changing Audiences and Contemporary Art, MIT Press, 1998
http://www.garrybarkeronline.com/
Subscribe to:
Posts (Atom)