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17/10/2017 - Task 2 - FFF - FRAME - Thoughts - TEXT

TEXT

How I talk about my work affects how the gallery discusses it, which affects how it is read and discussed by audience & critics.

If I use text within my work, the words have the meanings dictated by the dictionary... who wrote the dictionary? - See Urban Dictionary for new words/slang - expression of roots - childhood of mum and Nan using Cockney Rhyming Slang, everyday speech - dialect as a class signifier. Can I redefine words - misinterpretation as work - such as dictation - see previous post. 

Gallery tend to exploit novelty – newness, & exaggerate the sensations, experiences, dramatizing, emphasizing. use of language is unique to gallery - institution uses different  - not wot worry about this - only for exhibitions?

critics question the work, dependent on publication they may be more provocative or simply highlight key terms from press release. Try to be objective, mostly subjective, bias. Is all writing bias? Is all art bias? does it matter? YES - RELATES TO CLASS AND CATEGORISING< LEAVING OUT< EXCLUDING ELEMENTS OF SOCIETY

- so how do I include text within my work so it allows the work to be read with clarity – how does this relate to genre, story telling? Is it in danger of becoming a ‘branding’ exercise?

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Previous work including text - a lot of my older work had written messages embedded within in them, hidden under the layers of paint.

not for citation or circulation

27/09/2017 - How does text generate meaning for/in art?

Addressing the politics and other issues

an artist & their context

A Generative series - the idea is to create interventions that will have an impact on practice

Sketchbooks

Sketchbooks

Slow learning – slow to find yourself

Leap of Faith – decoding and unraveling - reassess how I frame critique of own work.

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Thinking strategically - endgame – enrich work

how meaning is produced around artworks. Understand how artist can control the meaning they create around their works.

Artist – documents etc

Who is speaking? – What are they saying?

How do we confront meaning? – categorisation

critical, social theory

How will it help formation of critique?

  • observing how we observe –O, Ward –

  • controlling nuances in my text to control/stage stories

  • how to place in a wider context

side note, audit – alserkal – exhibitions – male/female – nationality – group shows – residences

‘local’ art and global critique - How local art is perceived globally, what is local? How are they out of contrast as nationality?

how do we make sense when there is no distance? does artwork need distance from its narrative? can I discuss something I am distant from? Or do I need to be apart of it - links to Langlands and bell/Emin and the depth of research and personal narrative.

Studio & Cube – the relationship between when art is made and art is created – Brian O’Dougherty - Less in to biographical dialogue

website: http://tashkeel.org/workshops/critical-dialogues-1

not for citation or circulation