KVB127 01 Unit Overview and Introduction
- 1. KVB127 Visual Art Open Studio 2 Week 1: Unit Overview and Introduction
- 2. First Nations Acknowledgement I acknowledge the Turrbal and Yugara, as the First Nations owners of the unceded lands where QUT now stands. I pay respect to their Elders, lores, customs and creation spirits and the important role Aboriginal and Torres Strait Islander people play within the QUT community. I recognise that these lands have always been places of teaching, research and learning, and acknowledge the Turrbal and Yugara peoples’ living culture, knowledge and struggle in this region. Dave Hullfish Bailey and Uncle Sam Watson, Maiwar Performance 2009. Performance View, Brisbane River (Maiwar)
- 4. Objectives: the development of your art practice Understanding of studio experimentation through PROCESS and EXPANSION – making and thinking the development of your visual literacy Identify and discuss PROCESS in relation to contemporary art and selected THEMES to get you working independently and in groups Ugo RONDINONE (Swiss b. 1963) achtzehnterjanuarzweitausendundnull, 2000 acrylic airbrush on canvas, silkscreen on plexiglass plaque, ø 270 cm
- 5. Structure: Studio 1 (1hr) Seminars (key themes), crits, and reviews (inc Oral videos) + Studio 2 (2hr) Activities (inc digital labs), reviews and consultations Blackboard unit details, class schedule, assessment details, handouts, lecture notes, faculty info and links Tim Payungka TJAPANGARTI, Tingarri Story, 1975, synthetic polymer paint on canvas, 190 x 170 cm. National Museum of Australia
- 6. Assessment: 1. Oral Presentation (40%) 3 mins + Notes/Written(600 words) Weeks 5-10 (via video and Blackboard) 2. Folio/Blog/Rationale/Artist Review (60%) Folio (min. 12 works) Rationale/Artist Review (1200 words) Due Week 13 : Folio Interviews (live and via Blackboard) Tracey EMIN, We Have Lift Off, 1998 monoprint
- 7. Grading 1.Involvement Have you completed all of the tasks? Are you challenging yourself by exploring scale, quantity or complexity? 2.Creative Development Have you explored a range of different materials and ways of making art (and documented these on your blog)? Are you showing that you have reflected on what ’works’ and what does not? 3.Quality of Research and Reflection Are you looking at good examples of contemporary and reflecting on how PROCESS and the key THEMES play a role in these works? 4.Clarity of communication Have you observed correct academic format in your written work? Spellchecked? Have you conveyed your ideas clearly? Sean LANDERS, Le'Go My Ego, 2007, oil on linen, 198.1 x 243.8 cm
- 8. Themes Ceal FLOYER (British b.1968), Press, 2014, Plexiglas and newsprint, 75 x 50 cm. • Identity (Wk 2) How we locate and see ourselves in the world, especially in relation to normative codes and values (gender, neoliberal, colonial, etc) • Body (Wk 3) How the body is considered as a sensory experience and/or cultural construction • Time/memory (Wk 5) Time and the sensations, images, and emotions associated with memory • Environment (Wk 6) The relationship between humans and the natural world • Place (Wk 7) How location, place and setting inform artists’ practice
- 9. Basic Features of an Artwork: Material ‘Stuff’ (usually nouns) Process Actions, techniques (usually verbs) Form Composition, relationship between parts (usually adjectives) Site Place (physical, institutional, cultural, historical)
- 10. ROBERT MORRIS (American b. 1931) Continuous Project Altered Daily 1969 Process • Extends beyond simple‘technique’ • The method by which an artwork is made. • Is arguably the dominant aspect of the artist’s experience of his/her own work. • Has ‘corporeal’ connotations – a record of the artist’s bodily actions. • ‘Process Art’ of the 1960s emphasised the performative dimension of art making (as opposed to its final form). • time - change - transience were seen as an antidote to the order and structure of earlier modern art.
- 11. Hans NAMUTH (German/American 1915–1990) Jackson Pollock painting One and Lee Krasner, 1950 Edvard MUNCH (Norwegian, 1863-1944) The Scream, 1893
- 12. Lynda BENGLIS (American b. 1941) Blatt 1969 Richard SERRA (American b.1939) Splashing, 1968 lead
- 13. Claude CAHUN Que me veux-tu? (Do you want me?) 1928 Bracha ETTINGER (Israeli/French b. 1948) Lichtenburg Flower Medusa 2010-12, india ink, xerography on paper
- 14. Ellsworth KELLY (American, born 1923) Spectrum Colors Arranged by Chance 11, 1951 cut and pasted color coated paper and pencil on four sheets of paper, 38 1/4 in x 38 1/4in Chance Tacita DEAN (British, born 1965) Four, Five, Six and Seven Leaf Clover Collection (1972–present)
- 15. ROBERT MORRIS (American b. 1931) Continuous Project Altered Daily 1969 Week 1 Prepare for class by reviewing the resources in the Week 1 folder and considering the following questions: •How does process influence the form of each work? •How do these artists/writers describe the role of process in the work? •What content/affects does process create in each work? Make notes in your blog and bring your observations/questions to class.
- 16. 1.1 ADD/SUBTRACT (In-class Task) In pairs, create a work using the combined processes of addition and subtraction. Week 1 Studio
- 17. 2.1 VERB (Homework Task) Produce a work using the sustained application of a single verb Feedback Session: Week 2 Tutorial