Wednesday, 8 October 2008

Critical Framework lectures (3)

Writing & Research

James Faure Walker

Worked for Sol Lewitt and on magazines. Went to Australia and didn't do anything for a bit. Discovered computer graphics, initially thought of by people as not art - not painting. He believes there is a continuity between all these art forms - computer graphics, painting, drawing etc.

Published book - The Digital River - about finding ones way - only computer book with pictures!

One painting 20 x 30 a day! way of using up materials. Doing lots of conceptual stuff can be useless, using overly long words just for the sake of it - philosophy in art is a waste of time. Art is just art.
Downside of computer graphics can make things complicated very quickly.

Drawing - old adverts/illustrations/look how much we have forgotten about already - buried in history, was cutting edge at the time now just forgotten.
Lots of research in Oxfam.

phd student - huge drawing/mind map of her thoughts.

Things that are essential:

  • Momentum
  • Rhythm
  • Routine
  • Analogy (?)
  • Dream
  • Thinking
  • Editing
  • Not Thinking
  • Letting Go.
Catherine Elwes

Video, Feminism, Politics, late 70s. Marxist - bypass commercial market by making videos = good.
Performance, sound, freedom was great, no crew, immediate image.
Writing was another way of expressing theory, how video is understood.
Video was good to create debate and arguments within a social system.

Everything onto paper for four days. The personal is political - personal relationships. Physical presence in work if body isn't there, sound/voice, drawing - time-based.

Visibility in the artwork and then in the world. Then trying to exhibit the work.

ICA Exhibitions - Womens images of men 1980, About time, Issue.

With performance based work, recording it is essential otherwise it doesn't exist. In documentation they started writing about each others work - how she became interested in writing critically.

Exercise - write within 200 words, short sentences, precise. Tries to write as an artist in dialogue with the subject artist, not as a critic judging the work as then there is no chance for the artist to respond and discuss back - started interviewing artists directly instead of writing reviews.

Until 1990s avoided using words in her work as would guide the viewers experience too much - limiting but then father died and after 1997 introduced writing.

Remember that autobiographical written work is only poignant to friends and family - think how to make it relevant to the public.

How reliable is memory? Do people lie - people believed they had done an action in a situation even if they hadn't, just told the story so many times they truly believed they had.

She is excited about writing about what is invisible and hasn't been written about before.

Try to write everyday - rhythm, routine - start by typing out the page from a newspaper.

Contextualising your research is always a big problem as fields of inquiry can be very large - you have to learn to defend yourself - clearly - main discussion - stick to your guns. Put other peoples suggestions in the footnotes. Always come back to what you want - what you are interested in - if you don't know look at your work and it will tell you.

Find people how can explain things simply - then decide whether you want to include it.
Go direct to artists you like - primary research ask them what they are thinking about to produce the work you are interested in.

Its nice to find things that no one else knows about - follow your nose.

Essay planning - create a structure - chapters, block things in. in smaller chunks. Put yourself in the position of the reader, create a picture in their mind - visual image. Inject with images all the way through and explain how you feel about them.

Get Dad to understand the concept of my work in one 'elevator sentence'.

No comments: