We decided on a group meeting today to arrange the last few plans and ideas for the upcoming exhibition; the plans are as followed:
- All advertising posters etc must be complete and ready to be distributed by Monday the 18th April (the first Monday back after Easter) giving us a week of having them up; and so we will all meet on the Monday morning to put them up around the university and The Student Union...etc.
- We've come up with the idea that everyone should do miniatures of their work, eg. postcards, mini models...etc with the intention to sell them or give them away on the opening night. Giving that addition to the exhibition to make it a little different, with the added bonus of getting our name and work out there.
- Also we think everyone should make a cake or buns or something to have available to the visitors at the opening night of the exhibition to maybe ask for donations for.
- And everyone needs to prepare a title and blurb about their work that we plan to print on to foam board and put up next to our pieces.
April the 26th is our opening night and the previous weekend is easter weekend meaning that were gonna have to start setting up on Thursday the 21st.
Friday, 18 March 2011
Final Draft
We will be printing a number of these out to an A3 size on high quality paper to appear more professional; also giving us more of a positive outlook on our group collaboration and raising expectations for the show. These will be placed throughout the university and the student union and maybe in the city centre; introducing the 'non art' community to an art exhibition which would hopefully create mixed responses to the work and the ideas behind each individual piece, other than just students and people involved in the art industry. We will also be printing a number of these in a leaflet format to hand out to the public; hoping to get as many people as possible to visit the upcoming exhibition and view the collection of works put together. I also suggested to the group to approach Andy (a member of the technician group at the university) to upload our advertisement onto the TV’s which are situated on each floor of the university; hoping to attract more attention to the upcoming show. The exhibition can also be advertised on the Student Union radio station.
Wednesday, 16 March 2011
Yvonne Carmichael
Art In Unusual Spaces
Yvonne is currently the programmer for Art in Unusual Spaces; a scheme which is a partnership between independent curators, landlords, artists and businesses throughout the city who in most cases use units across the city as they become temporarily vacant, to exhibit art works. The project is ongoing and was initiated in partnership with Leeds City Council in December 2009, and since then Art in Unusual Spaces has been constituted an independent Community Interest Company.
The talk/ lecture presented to us by Yvonne Carmichael was definitely a motivating and interesting experience which made me think so much further into the spaces that are available to individual artists and groups to hold exhibitions and events throughout cities. I usually automatically think of presenting my work in an 'arty' environment but I found after hearing of the success of past exhibitions she has held, has made 'unusual spaces', i.e. shopping centers, stores, offices, hotels...etc, sound much more interesting. I suppose, taking the work out of a typical gallery space and placing it into a shopping centre makes the work seen in an everyday environment, instead of visiting a space purposely for that reason; giving the ‘non’ arty community the opportunity to witness the work without any original intention. The space the work is shown with the different incorporation of a range of people would also create a more varied outlook on the art and what the artist themselves are aiming to achieve; maybe questioning the work with the environment it’s in, in mind. I find this whole prospect and idea really interesting and something I am definitely looking forward to experimenting further along the line of my studies. Although I get the feeling that peoples opinions may vary from some finding it certainly positive and unique to others questioning the concept of it being ‘un-professional’ because of the environment the work is shown.....however these mixed responses would be unquestionably interesting.
Sunday, 13 March 2011
Extra Cutting
Because the room I am exhibiting my installation is larger than I remembered from the first visit, I decided upon making another 500 copies of my A4 sheets of handwritten text to cut into strips and fill the space of the room...totalling to 1700. This is adding much more expense and time on my final piece but not having enough of the strips would have definitely taken away from the end product; effecting the response from the viewer I hope to achieve.
Thursday, 10 March 2011
Individual Tutorial
The discussion with Miguel began with a briefing over the 'Personal Planning Development questionnaire' which I completed prior to my tutorial. I believe I answered each of the questions confidently and with no particular problems with the development of my work at this point, we went straight on to talking through my progress and plans towards the upcoming exhibition.
I explained my intentions for how I want the piece to be seen by the viewer in the exhibition; making it clear that it is important for the work to be viewed 'one at a time' , as I want to avoid the distraction of another person sharing opinions from the viewers own individual thoughts. I suppose it will give them more of a chance to listen to the sound piece playing around the room, reading the information and taking in a sense of intimacy and emotion which I hope to achieve from the piece; without the temptation of talking to another person or witnessing their reaction. Miguel agreed with my points and stated that he was very happy that I have thought about this aspect of my work as I have made it clear that I am very aware of what I want and how the work is intended to be seen; adding that it relates to the overall context of the work...the control of the subject matter and the control of the communication of the piece it self.
As the discussion continued we went on to questioning how I would ensure that it is made clear to the viewers that it is intended for one to enter at a time. I do believe it will take something away from the piece if this doesn't happen and I don't particularly think signs stating this would take any action and so throughout the two day exhibition I will make sure I myself or another member of the group is situated near the room at all times to certify this to the viewer.
The latest commission in The Unilever Series How It Is by Polish artist Miroslaw Balka is a giant grey steel structure with a vast dark chamber, which in construction reflects the surrounding architecture - almost as if the interior space of the Turbine Hall has been turned inside out. Hovering somewhere between sculpture and architecture, on 2 metre stilts, it stands 13 metres high and 30 metres long. Visitors can walk underneath it, listening to the echoing sound of footsteps on steel, or enter via a ramp into a pitch black interior, creating a sense of unease.
Underlying this chamber is a number of allusions to recent Polish history – the ramp at the entrance to the Ghetto in Warsaw, or the trucks which took Jews away to the camps of Treblinka or Auschwitz, for example. By entering the dark space, visitors place considerable trust in the organisation, something that could also be seen in relation to the recent risks often taken by immigrants travelling. Balka intends to provide an experience for visitors which is both personal and collective, creating a range of sensory and emotional experiences through sound, contrasting light and shade, individual experience and awareness of others, perhaps provoking feelings of apprehension, excitement or intrigue.
Miguel mentioned that on witnessing this piece for himself, his experience was ruined by other viewers not taking note of the sign which was purposley situated near the entrance of the piece; reading that no photographs were to be taken and to remain as quiet as possible. With people taking photographs and communicating throughout, the intamacy and unknown aspects of the piece where instantly taken away due to the flash of the camera lighting up the 'dark room' and the discussions effecting individual thoughts and opinions.
Sunflower Seeds is made up of millions of small works, each apparently identical, but actually unique. However realistic they may seem, these life-sized sunflower seed husks are in fact intricately hand-crafted in porcelain.
Each seed has been individually sculpted and painted by specialists working in small-scale workshops in the Chinese city of Jingdezhen. Far from being industrially produced, they are the effort of hundreds of skilled hands. Poured into the interior of the Turbine Hall’s vast industrial space, the 100 million seeds form a seemingly infinite landscape.
Porcelain is almost synonymous with China and, to make this work, Ai Weiwei has manipulated traditional methods of crafting what has historically been one of China’s most prized exports. Sunflower Seeds invites us to look more closely at the ‘Made in China’ phenomenon and the geo-politics of cultural and economic exchange today.
The landscape of sunflower seeds can be looked upon from the Turbine Hall bridge, or viewed at close-range in the east end of the Turbine Hall on Level 1. It is no longer possible to walk on the surface of the work, but visitors can walk close to the edges of the sunflower seed landscape on the west and north sides.
I explained my intentions for how I want the piece to be seen by the viewer in the exhibition; making it clear that it is important for the work to be viewed 'one at a time' , as I want to avoid the distraction of another person sharing opinions from the viewers own individual thoughts. I suppose it will give them more of a chance to listen to the sound piece playing around the room, reading the information and taking in a sense of intimacy and emotion which I hope to achieve from the piece; without the temptation of talking to another person or witnessing their reaction. Miguel agreed with my points and stated that he was very happy that I have thought about this aspect of my work as I have made it clear that I am very aware of what I want and how the work is intended to be seen; adding that it relates to the overall context of the work...the control of the subject matter and the control of the communication of the piece it self.
As the discussion continued we went on to questioning how I would ensure that it is made clear to the viewers that it is intended for one to enter at a time. I do believe it will take something away from the piece if this doesn't happen and I don't particularly think signs stating this would take any action and so throughout the two day exhibition I will make sure I myself or another member of the group is situated near the room at all times to certify this to the viewer.
Miguel related my work and intentions to two major artist exhibitions at the Tate Modern whos works I found fascinating, including 'Miroslaw Balka, with the Unilever Series' and 'Ai WeiWei, with Sunflower Seeds'. These were both exhibited in the Turbine Hall and an example of signs not taking note.
Underlying this chamber is a number of allusions to recent Polish history – the ramp at the entrance to the Ghetto in Warsaw, or the trucks which took Jews away to the camps of Treblinka or Auschwitz, for example. By entering the dark space, visitors place considerable trust in the organisation, something that could also be seen in relation to the recent risks often taken by immigrants travelling. Balka intends to provide an experience for visitors which is both personal and collective, creating a range of sensory and emotional experiences through sound, contrasting light and shade, individual experience and awareness of others, perhaps provoking feelings of apprehension, excitement or intrigue.
Miguel mentioned that on witnessing this piece for himself, his experience was ruined by other viewers not taking note of the sign which was purposley situated near the entrance of the piece; reading that no photographs were to be taken and to remain as quiet as possible. With people taking photographs and communicating throughout, the intamacy and unknown aspects of the piece where instantly taken away due to the flash of the camera lighting up the 'dark room' and the discussions effecting individual thoughts and opinions.
Each seed has been individually sculpted and painted by specialists working in small-scale workshops in the Chinese city of Jingdezhen. Far from being industrially produced, they are the effort of hundreds of skilled hands. Poured into the interior of the Turbine Hall’s vast industrial space, the 100 million seeds form a seemingly infinite landscape.
Porcelain is almost synonymous with China and, to make this work, Ai Weiwei has manipulated traditional methods of crafting what has historically been one of China’s most prized exports. Sunflower Seeds invites us to look more closely at the ‘Made in China’ phenomenon and the geo-politics of cultural and economic exchange today.
The landscape of sunflower seeds can be looked upon from the Turbine Hall bridge, or viewed at close-range in the east end of the Turbine Hall on Level 1. It is no longer possible to walk on the surface of the work, but visitors can walk close to the edges of the sunflower seed landscape on the west and north sides.Although porcelain is very robust, we have been advised that the interaction of visitors with the sculpture can cause dust which could be damaging to health following repeated inhalation over a long period of time. In consequence, Tate, in consultation with the artist, has decided not to allow members of the public to walk across the sculpture.
Sunflower Seeds is a total work made up of millions of individual pieces which together from a single unique surface. In order to maintain and preserve the landscape as a whole, Tate asks visitors not to touch or remove the sunflower seeds.
Personal Development Planning Questionnaire
Relevant Questions
Describe a piece of architecture, art, design or music that has caught your attention recently and why?
- I have recently come across an installation piece called ‘Bed’ by Antony Gormley. It caught my attention at the Tate Gallery first of all because of its size and positioning in the room but on approaching the piece; I found it fascinating yet quite bizarre to find the work was made out of bread as it wasn’t expected from a distance. After reading the information on the piece, I became more intrigued to the connotation of the bread’s usage and the explanation behind the work. I also found that it linked in well with the representation of the work I am creating at the minute.
Give a favourite example of each of the following that you've seen/read recently...
Book/ Journal: - ‘Malice. Danielle Steel’
Film/ DVD/ Video/ TV: - TV Documentary: Antony Gormley ‘Making Spaces’
Exhibition: - Nam June Paik
Other/ Outside Interests: - Dance
Have you sighed up for any of the School Skill Sets: - Yes, recently. The Audacity Workshop
What skills and attributes have you developed since your last review?
- Since my last review I have been introduced to the ‘Audacity Software’ by Peter Appleton. I found this programme exceptionally interesting and was quick to learn the process of the programme and the purpose and use of the majority of the tools. I would say that this has definitely helped with the development of my work; having a positive impact on my recent piece alongside my practice as a whole as the software could be re-introduced in other works now that I am aware of how to use it.
Is there anything specific you'd like to discuss during your review?
- No, nothing in particular. I am quite happy with the development of my work at the minute. Although I am a little unsure about which module’s which for an upcoming assessment, which I’m sure can be over looked in my review.
Give some details about all of your most recent projects. It's expected that some work may be still be 'in progress'.
Project title: Fine Art Practice
Identify aspects of this project that you're pleased with...
- I am happy with my overall development for this project so far. My sound piece is complete, which I am more than pleased with and the cutting process of my strips of text for the piece I intend to exhibit is still in process, although my plans and visions for what I aim to achieve is definitely positive.
Identify aspects of this project that you could improve...
- I could improve the technology my sound piece is played on; as I am having difficulty with transferring my media onto the correct sort of ‘player’, as I am a little unsure of what to use or how to even do it. At the minute I am looking into purchasing a small CD player especially for the exhibition as I don’t want the piece to be seen by the viewer.
Project title: - Fine Art Practice and Publication
- I could improve the technology my sound piece is played on; as I am having difficulty with transferring my media onto the correct sort of ‘player’, as I am a little unsure of what to use or how to even do it. At the minute I am looking into purchasing a small CD player especially for the exhibition as I don’t want the piece to be seen by the viewer.
Project title: - Fine Art Practice and Publication
Identify aspects of this project that you're pleased with...
- I am pleased with how I have managed to adapt to group work as I have always preferred working individually, although I can’t say it hasn’t been difficult to work around different opinions. I also feel that I am relating my work, ideas and progress appropriately and sufficiently on my on-line blog.
Identify aspects of this project that you could improve...
- I suppose the communication and organisation between the group could be improved. We have a group facebook page in which we all post information, ideas, images, conversations and anything else related to our individual works or the exhibition; as a way of keeping in touch and updating one another whilst showing our development. Although a few of the group members don’t seem to be getting involved with the planning and decision making or attending meetings, which is disappointing.
Project title: Contemporary Art and Globalisation
Identify aspects of this project that you're pleased with...
- I have found that this module is definitely essential to the development of my work, making a break from the creative side of this course to write, which has become an important part of my studies; alongside looking at art in a broader aspect instead of just works that I’m particularly fond of or that relate to my own works. I have also enjoyed and benefited from reading around the topic of Globalisation which I am finding surprisingly interesting.
- I am pleased with how I have managed to adapt to group work as I have always preferred working individually, although I can’t say it hasn’t been difficult to work around different opinions. I also feel that I am relating my work, ideas and progress appropriately and sufficiently on my on-line blog.
Identify aspects of this project that you could improve...
- I suppose the communication and organisation between the group could be improved. We have a group facebook page in which we all post information, ideas, images, conversations and anything else related to our individual works or the exhibition; as a way of keeping in touch and updating one another whilst showing our development. Although a few of the group members don’t seem to be getting involved with the planning and decision making or attending meetings, which is disappointing.
Project title: Contemporary Art and Globalisation
Identify aspects of this project that you're pleased with...
- I have found that this module is definitely essential to the development of my work, making a break from the creative side of this course to write, which has become an important part of my studies; alongside looking at art in a broader aspect instead of just works that I’m particularly fond of or that relate to my own works. I have also enjoyed and benefited from reading around the topic of Globalisation which I am finding surprisingly interesting.
Identify aspects of this project that you could improve...
- If I’m honest, I am finding difficulty in the writing process of putting my essay together. I feel like I have a lot to say around the main lecture series I decided to write about, ‘Exhibitions and artists’; and being quite a broad subject, it seems that a 2000 word limit isn’t quite enough. I have the information and the points I want to include, it’s just the structuring of the essay together correctly that I admit to finding hard this semester.
Are you attending Lectures organised by relevant external organisations? Which was the most interesting and why?
Are you attending Lectures organised by relevant external organisations? Which was the most interesting and why?
- I have attended all of the lectures and talks so far, given to us by various artists and graduate students from all over. I was especially interested in the talk given to us by James Iveson, as I found the way he spoke about art in general enjoyable alone; I also found his work and ideas quite out of the ordinary, focusing on strange objects, such as, Underpants.
Do you take an active role in any Student Society? How?
- I wouldn’t say I have any role in any Student Society in particular, although I have been working with a group of first year students, along with two members of the Royal Standard and Rick Creed on a module leading up to a group exhibition held at the Royal Standard organisation. I can’t say I’ve had a particular role in the module but sitting in with the group meetings and discussing work plans and the student’s ideas is definitely interesting and has made me think further into the development of my own work.
How have you started to engage with stage 2 of the World of Work: Organisational Awareness?
- I have recently started the second stage of the World of Work; making notes for each of the questions listed. Although I havn’t yet answered the questions in depth as I plan to get my essay and dissertation proposal finished first.
- I have recently started the second stage of the World of Work; making notes for each of the questions listed. Although I havn’t yet answered the questions in depth as I plan to get my essay and dissertation proposal finished first.
Wednesday, 9 March 2011
Wednesday 9th March
After the presentation given to us this morning by post-graduate students, a few of us from our exhibition group decided to quickly visit the Student Union again to view the building and the spaces in which we will be working in. Although the room I will be exhibiting my installation is much bigger than I initially thought and so I will be producing more of my text strips as I don't believe the amount I have at this point is quite enough to fill the space of the whole room.
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