29.10.20 My notes for tutorial with Dexter
From MF7004 Handbook:
The aims are
A maker, a facilitator and maybe a (reluctant) performer?
Maker
The process of making , meaning of materials, form, colour, surface, installation
Using my whole body becomes performative. How can I extend this?
Facilitator
How can I facilitate participatory art in this time? Online?
Performer
Private, hidden performances?
Notes and reflections after the tutorial:
Parts of me become objects in themselves. Participation is implicit.
Ideas for artists who use participation? Look at Jeremy Deller, who considers himself to be a conduit for ideas, people, history and place.
When I spoke about how to do participatory art online, D. said he isn’t particularly interested in thinking about how to engage an online audience.
My work has progressed from participation to the sculptural object.
Why do I want to do participatory work? Am I looking for reassurance that my work is good? I don’t think so as I’m more interested in setting my participatory work outside the traditional art environment so that my participants are not necessarily interested in art but are interested in interaction/engagement. I do acknowledge, however, that I relish interaction and feedback about my work, and I possibly get more of that satisfaction through my participatory practice than through exhibiting. Or maybe I need all 3 strands of my practice to balance things?
What Dexter sees has happened is consolidation; through putting together the
-knitting
-metal
-a real piece of body casting
The viewer sees it as sculpture, there’s no hierarchy. It’s no longer seen as textile art. (This highlights yet again how textiles is still not accepted in the canon of Fine Art, sadly, but I can see that combining it with other materials does change the ways it is read and understood.)
He says I have found a form that works- and this is not about the content, but the form- so develop it…. Not by endlessly producing more but using a similar formula.
Also, concentrate on making while I can (doing the MA, Locksbrook being open etc) Focus on participatory art at a later stage, if I must!
From MF7004 Handbook:
The aims are
- to identify your artistic position and
- to map a contextual terrain of your studio activity and
- (to map) its relationship to contemporary fine art practices, including the ways in which art is encountered and received by the public.
A maker, a facilitator and maybe a (reluctant) performer?
Maker
The process of making , meaning of materials, form, colour, surface, installation
Using my whole body becomes performative. How can I extend this?
Facilitator
How can I facilitate participatory art in this time? Online?
Performer
Private, hidden performances?
Notes and reflections after the tutorial:
Parts of me become objects in themselves. Participation is implicit.
Ideas for artists who use participation? Look at Jeremy Deller, who considers himself to be a conduit for ideas, people, history and place.
When I spoke about how to do participatory art online, D. said he isn’t particularly interested in thinking about how to engage an online audience.
My work has progressed from participation to the sculptural object.
Why do I want to do participatory work? Am I looking for reassurance that my work is good? I don’t think so as I’m more interested in setting my participatory work outside the traditional art environment so that my participants are not necessarily interested in art but are interested in interaction/engagement. I do acknowledge, however, that I relish interaction and feedback about my work, and I possibly get more of that satisfaction through my participatory practice than through exhibiting. Or maybe I need all 3 strands of my practice to balance things?
What Dexter sees has happened is consolidation; through putting together the
-knitting
-metal
-a real piece of body casting
The viewer sees it as sculpture, there’s no hierarchy. It’s no longer seen as textile art. (This highlights yet again how textiles is still not accepted in the canon of Fine Art, sadly, but I can see that combining it with other materials does change the ways it is read and understood.)
He says I have found a form that works- and this is not about the content, but the form- so develop it…. Not by endlessly producing more but using a similar formula.
Also, concentrate on making while I can (doing the MA, Locksbrook being open etc) Focus on participatory art at a later stage, if I must!