08/02/19 Notes & 06/02/19 VL Jasmir Creed, Q&A, Tutorial
I have been ill and I have missed time at uni.
Ongoing projects:
Bridewell Studios and Gallery exhibition. Meetings to allocate spaces, organise dates. Signed the contract with Ian. Cut out, non-committed members.
Need to start thinking about what I will present. Electrical elements require notice and negotiation with residents.
The poster is completed. I asked Joe to write the literature for the post. I want to go against the theme of 'territory' as I dislike the whole idea of it. We are on shared earth and no one is more deserving of it than anyone else. I hate the human-ness of wanting to cut out a piece for yourself and expand. It's like we don't want to work together. I thought about using scent as a way to unite the whole space and invade other 'territories'. I am inspired by Ryan Gander and his soft wind and also Rory told me about a guy who made in a plug-in air freshener of a historical anointment fluid stuff.
I will not write about the lectures I missed because I didn't experience them.
This was very different from other VLs but going to luminary lectures have opened my eyes to other styles of lecture and broadened my expectations. This one was very academic and formulaic.
She was shy I think, which really isn't an issue. I realise it isn't important if someone stutters or is lost for words. Even if they repeat themselves. It doesn't detract from the lecture. I shouldn't care so much if I'm shaky. I will disregard further criticism that I am too fearful because that won't go away. I will just make sure I am no longer apologising for myself and I will continue to present my work like Jasmir did.
I didn't care for the order of the lecture. I feel it is better to show your work sooner into the lecture. The act of citing methodologies, citing sources, inspiration, respected artists/books/work is a way to legitimise the work you are about to show. It's like an apology or a explanation. I do it too but now I will try to stop.
I just wanted to see an example.
Work shouldn't need legitimisation. I love to imprint my own ideas onto others' work, then I like to find out what the artist's motivations were. I love a beautiful meaning or a story but it should also work on a more basic level (I believe). Her work does and therefore I felt didn't need to be legitimised.
Her speaking about it made me think she may have studied in an environment, perhaps Manchester Uni, where certain markers had to be hit, particular books were mentioned. The kind all students read, Marc Auge's Non- Places and Ways of Seeing by John Berger. I requested a tutorial as I have read Non- Places and I am reading Ways of Seeing. I wanted to know how all the knowledge in those texts and how all the weight of academia turns into a responsibility. I wanted to know how it is possible to react and not allow the responsibility to turn into a monument we can't begin to climb. I couldn't help but compare her to Chris Evans, his work can have a sense of humour and be inclusive but it can also carry weight, sensitivity and meaning. Perhaps the key is to combine both elements in your work. Sort of know the wider angle but also make time to produce things that don't induce a headache.
I have been forgetting to bring my notepad so I've been using an app called 'Sketch' on my phone.
Jasmir read from a script but she did read it while walking about in front of us and she wasn't behind the desk so that was positive I thought. Scripts always create a strange monotony so we were pretty restless. I feel it was a successful lecture overall but could have been much shorter. I also missed that I didn't get to know her at all. I spoke to people who attend the Q&A (we went 30mins late) and the feedback was that questions weren't answered in a way that was satisfactory. People thought that it wasn't a straightforward, insightful exchange.
My tutorial was helpful as she told me about some films I should watch and as I am leaning into film lately I will definitely watch those. I was very nervous but I thought it would be good to learn how to receive a tutorial. They are always awkward and hard work. I will force myself to have one with as many artists as I can. It really helps me to incorporate other people in this way.
In some ways the tutorial was unsuccessful as it was so awkward and I didn't draw any conclusions, I thought Jasmir was nervous about committing to a strong opinion. When I asked about directions she would repeat what I had said and wouldn't want to commit to an option. It reminded me of those times you meet interesting people in life and you want to learn about them but they don't want to engage with you and it's frustrating because you want to get in there, unpick a few stitches and climb aboard, learning more about how they see the world. But that is a clingy-ness in me I suppose rather than a problem with the other person.
My favourite lectures are from people who are too personable. I love honesty and vulnerability. Chris told us he loves his family and nice wine, Mort told us his regrets with some of his work, the impact it has had upon his family. Ryan Gander told us he spent a lot of time on computer games and spent a lot of the lecture asking us how a lecture should go. I love how I see myself in them. That's really how we all are. I hope so anyway.
I asked about the responsibility I mentioned before. Jasmir uses the design process. It is something I have been actively attempting to move away from. I have been trying to work in a more holistic, intuitive way and not follow a rigid plan. The design process works for her though clearly as she is successful and earning a living from her Art. It is exhibited in the Victoria Gallery. I will go to it because I am interested in the difference between the replicated image lit up by the technology we saw in the lecture and the original. I want to see the scale mostly, then brushstrokes.
It is good I guess, to know that if I am completely stumped I can rely on the design process, rather than disregard it completely.
I did see a parallel between my work and Jasmir's, in the surreal worlds she creates through collage. The medium allows her to easily piece together and compose new spaces on the canvas. I noticed she draws a grid on the canvas before she starts, you can see some of the outlines. Control and containment that are mirrored in her lecturing style.
I went along to the gallery a week later to see Jasmir's work and it did change my idea of it. I thought that the larger work was most effective as it is more immersive. It reminded me how a few pieces of her work made me feel a little unbalanced when viewing them on the larger projected screen in the lecture hall. In real life the largest ones have the same ability. The tonal differences are more apparent too and I think this is probably down to her paint? Possibly texture. This positive experience has reminded me of the reason to see art. Reading 'ways of seeing' and realising the impact of reproduction has imparted a specialness in seeing art in person, in position.
Ongoing projects:
Bridewell Studios and Gallery exhibition. Meetings to allocate spaces, organise dates. Signed the contract with Ian. Cut out, non-committed members.
Need to start thinking about what I will present. Electrical elements require notice and negotiation with residents.
The poster is completed. I asked Joe to write the literature for the post. I want to go against the theme of 'territory' as I dislike the whole idea of it. We are on shared earth and no one is more deserving of it than anyone else. I hate the human-ness of wanting to cut out a piece for yourself and expand. It's like we don't want to work together. I thought about using scent as a way to unite the whole space and invade other 'territories'. I am inspired by Ryan Gander and his soft wind and also Rory told me about a guy who made in a plug-in air freshener of a historical anointment fluid stuff.
I will not write about the lectures I missed because I didn't experience them.
06/02/19 VL Jasmir Creed
This was very different from other VLs but going to luminary lectures have opened my eyes to other styles of lecture and broadened my expectations. This one was very academic and formulaic.
She was shy I think, which really isn't an issue. I realise it isn't important if someone stutters or is lost for words. Even if they repeat themselves. It doesn't detract from the lecture. I shouldn't care so much if I'm shaky. I will disregard further criticism that I am too fearful because that won't go away. I will just make sure I am no longer apologising for myself and I will continue to present my work like Jasmir did.
I didn't care for the order of the lecture. I feel it is better to show your work sooner into the lecture. The act of citing methodologies, citing sources, inspiration, respected artists/books/work is a way to legitimise the work you are about to show. It's like an apology or a explanation. I do it too but now I will try to stop.
I just wanted to see an example.
Work shouldn't need legitimisation. I love to imprint my own ideas onto others' work, then I like to find out what the artist's motivations were. I love a beautiful meaning or a story but it should also work on a more basic level (I believe). Her work does and therefore I felt didn't need to be legitimised.
Her speaking about it made me think she may have studied in an environment, perhaps Manchester Uni, where certain markers had to be hit, particular books were mentioned. The kind all students read, Marc Auge's Non- Places and Ways of Seeing by John Berger. I requested a tutorial as I have read Non- Places and I am reading Ways of Seeing. I wanted to know how all the knowledge in those texts and how all the weight of academia turns into a responsibility. I wanted to know how it is possible to react and not allow the responsibility to turn into a monument we can't begin to climb. I couldn't help but compare her to Chris Evans, his work can have a sense of humour and be inclusive but it can also carry weight, sensitivity and meaning. Perhaps the key is to combine both elements in your work. Sort of know the wider angle but also make time to produce things that don't induce a headache.
I have been forgetting to bring my notepad so I've been using an app called 'Sketch' on my phone.
Jasmir read from a script but she did read it while walking about in front of us and she wasn't behind the desk so that was positive I thought. Scripts always create a strange monotony so we were pretty restless. I feel it was a successful lecture overall but could have been much shorter. I also missed that I didn't get to know her at all. I spoke to people who attend the Q&A (we went 30mins late) and the feedback was that questions weren't answered in a way that was satisfactory. People thought that it wasn't a straightforward, insightful exchange.
My tutorial was helpful as she told me about some films I should watch and as I am leaning into film lately I will definitely watch those. I was very nervous but I thought it would be good to learn how to receive a tutorial. They are always awkward and hard work. I will force myself to have one with as many artists as I can. It really helps me to incorporate other people in this way.
In some ways the tutorial was unsuccessful as it was so awkward and I didn't draw any conclusions, I thought Jasmir was nervous about committing to a strong opinion. When I asked about directions she would repeat what I had said and wouldn't want to commit to an option. It reminded me of those times you meet interesting people in life and you want to learn about them but they don't want to engage with you and it's frustrating because you want to get in there, unpick a few stitches and climb aboard, learning more about how they see the world. But that is a clingy-ness in me I suppose rather than a problem with the other person.
My favourite lectures are from people who are too personable. I love honesty and vulnerability. Chris told us he loves his family and nice wine, Mort told us his regrets with some of his work, the impact it has had upon his family. Ryan Gander told us he spent a lot of time on computer games and spent a lot of the lecture asking us how a lecture should go. I love how I see myself in them. That's really how we all are. I hope so anyway.
I asked about the responsibility I mentioned before. Jasmir uses the design process. It is something I have been actively attempting to move away from. I have been trying to work in a more holistic, intuitive way and not follow a rigid plan. The design process works for her though clearly as she is successful and earning a living from her Art. It is exhibited in the Victoria Gallery. I will go to it because I am interested in the difference between the replicated image lit up by the technology we saw in the lecture and the original. I want to see the scale mostly, then brushstrokes.
It is good I guess, to know that if I am completely stumped I can rely on the design process, rather than disregard it completely.
When people are anti capitalist it interests me, especially if they are someone who is involved in the culture and profiting from Art. Obviously, art shouldn't be for the destitute people like to imagine but it just intrigues me when people take a stand against the system they participate and profit from.
I went along to the gallery a week later to see Jasmir's work and it did change my idea of it. I thought that the larger work was most effective as it is more immersive. It reminded me how a few pieces of her work made me feel a little unbalanced when viewing them on the larger projected screen in the lecture hall. In real life the largest ones have the same ability. The tonal differences are more apparent too and I think this is probably down to her paint? Possibly texture. This positive experience has reminded me of the reason to see art. Reading 'ways of seeing' and realising the impact of reproduction has imparted a specialness in seeing art in person, in position.
Louise Giovanelli for a time would zoom into interesting parts of historic paintings and paint those. I am really inspired by these artists cropping, collaging, layering.
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