Wednesday, 27 April 2011


Visual aids and key texts from a presentation given to my peers and lecturers on my practice and research.

“The dimension of a reality (is) overdetermined by social, political, economic, historical, cultural, biological, technological, etc. factors. It is here that the work of art fights for its autonomy, in the field of factual codification and real heteronomy—a heteronomy the work remains at risk of falling back into.”

The possibilities an artist can have in communicating out with the confines of the gallery white space.

I have become interested in how to make a practice that may appear quite clinical within its final presentation, speak to the viewer beyond its visual in the white space and how through interpretation, public artwork and the communicative power that a blog can have, how this can stimulate further interest that goes further than the four walls of the art college.

In Conversation Pieces, Grant Kester holds the engaging quality of the visual arts as paramount in addressing societal issues, generating mass-appeal and inclusion of under-exposed sections of society.

“In these projects, on the other hand, conversation becomes an integral part of the work itself. It is reframed as an active, generative process that can help us speak and imagine beyond the limits of fixed identities, official discourse, and the perceived inevitability of partisan political conflict.”

West Meets East (1992) billboard project, Bow, East London

Kester: :“Art – (is) a privileged realm of free expression, quasi-protected opening onto a broader cultural and political arena for aesthetic knowledge to be mobilized.”

Aesthetic Theory by Theodor W. Adorno: "Artworks are able to appropriate their heterogeneous element, their entwinement with society, because they are themselves always at the same time something social. Nevertheless, art's autonomy, wrested painfully from society as well as socially derived in itself, has the potential of reversing into heteronomy; everything new is weaker than the accumulated ever-same, and it is ready to regress back into it."

This dichotomy of all the things art can be, suggests that art is in a state of flux, indefinable yet within the traditions of an art education, focus is put upon the fixed identity of artistic movements. Little emphasis is put on the discursive, engaging ways in which are should be moving towards when it has become apparent that not enough is happening between the art institutions and the general public. The traditions of an art education or even the art funded gallery space continue to reinforce a sense of culture designed for a middle class generation with few thoughts occurring about the sub-cultures which make up a populace.


Hirschhorn: Crystal of Resitance sketch

Posters I made inspired by Hirschhorn's Sketches

I have used easily interpretable pieces of my own work and text with others as a means to breakdown the insularity of the knowledge I have gained from dissertation/through the course of the notebook project as a means for communication with the general public (to be fly postered round central Dundee).

Collection(s) Part II workshop interpretation

The interpretation I plan to offer to the public will appear in a similar format, however, it will take from key elements of my Notebook Project.

My Manifesto Index Box, peppered with both imagery from my practice, others and personal manifestos interlaced with artistic and theoretical texts of interest. Based upon my interest of the fragmented image in McLuhan's and Fiore's The Medium is Massage:

'The alphabet and print technology fostered and encouraged a fragmenting process, a process of specialism and of a detachment. Electric technology fosters and encourages unification and involvement. It is impossible to understand social and cultural changes without a knowledge of the workings of media.'

Through the use of the posters and blog which act as fragmented visuals in our day to day life I wish to generate interest in my interests, my practice and the platform art can have socially suggesting notions of reform in inclusion and understanding of sub-cultures amongst the wider public.

The Manifesto Index Box is also entirely fragmented, however, it appears entirely organised and is, however, alphabetically it is only known to me and my experience of the text/image. The interpretation and  the posters act as an offering from me to the viewer, an offer of inclusion. Yet, the Manifesto Index Box is not for public consumption, it is a personal aspect to my Notebook Project but parts of it will be used in the interpretation and other images and texts will be amongst my final installation. There will be a considered play between revealing and concealing in my degree show work in the form of paper and photography.

These structures of paper and photographs will be on display in piles on the floor, I will entrust the audience that these are not for intimately examining but to be viewed as a piece in itself. These are personal memories and thought with some chosen to be included for interpretation/communication purposes. What is occurring is an exchange of trust, a trust from me to the viewer and vice versa. In the latter, the viewer is trusting that I have actually gone through this experience and documented and contemplated it and it has manifested itself into these hidden documents.

Deja Vu: Aberrations of Cultural Memory by Peter Krapp;

'The technical achievements of mass-media and their potential for warping and folding time raise the issue of attention and distraction. Spanning more than a century from the first discussions of  psychopathology in the late 19th Century to the present, the deja vu effect is intricately related to the mass-media. If the recurring structures of the cover-up or the secret punctuate all technologies, then the secret effect of the secret punctuate all technologies, then the secret effect of the secret, the dynamics of spilling or keeping it must ground our investigation in the intransparency of social intercourse...'

All texts mentioned in my Notebook Project will be stored in part of a filing cabinet.

The Work of Art in the Age of Mechanical Reproduction by Walter Benjamin:

'The painter, while working, observes a natural distance from the subject; the cameraman, on the other hand, penetrates deep into the subject's tissue. The images they both come up with are enormously different. The painter's in an entity, the cameraman's chopped up into a large number of pieces, which find their way back together by following a new law. That is why the filmic portrayal of reality is of such incomparably greater significance to people today, because it continues to provide the camera-free aspect of reality that they are entitled to demand of a work of art precisely by using the camera to penetrate that reality so thoroughly.'

Mobile Land

Video Process

I want to present ideas instigated by personal experience, informing my work but engaging with the viewer through broader societal discussion and this is to be achieved through public posters, the balance between the public and private aspects of the manifesto notebook project, the object installation and its situation amongst video appropriation.

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