Concept or function of author
Art and/as autobiography
What is the function of the author? In other cultures the ‘author is not so eternal or important but the performance or event might be. Not owning image or ‘thing’ as in icon painting.
Western view of author
How does art question authorship/identity?
Explorations and undermining idea of artist through collaboration, anonymously, or in participatory or collective practice.
The named maker rather than ‘the studio of...’
Frieda Kahlo: autobiography
Autoethnography: practice routed in self and ethnic or practice root.
The concept or function of the author
We can not read, receive or view an art work without being conscious of the context of the work.... Umberto Eco write in the the role of the reader about this, we are not blank canvases and essential neither is the work/book/film. They all have a context. Rather than there being a meaning in the work, its meaning happens once it is viewed. However does a pre-existence of meaning have to be there for there to be meaning.
Lévi-Stauss from making work something just comes out by chance from our context rooted in lived experience that is not ours that belongs else where we are just a conjure but not the originator...
performing a role not owning it. A point of intersection between larger culture and the story that has to be told now. Still responsible for the work but passive to the something that happens; allowing it not owning it? This moves away from the artist as an individual ego.
Julia Kristeva: text in terms of two axis, coding the way we look at text the vertical axis, (synchronic) connecting author to others and the readers viewers context and knowledge; the a vertical axis (diachronic) connects to other text past present and future. ‘\”every text is from the outset under the jurisdiction of other discourses which impose a universe on it.
Synchronic being a horizontal selection of outfit as a whole that works together when we get dressed.
Diachronic comes from a vertical selection on trousers or tops shoes etc..
synchronic: the cat sat in the mat
Diachronic: the cat, dog, panda, walked, jumped, stood, sat anywhere.
Authorship is an historical invention
Authorship gives authority. As in the bible being the authorship of God. Chaucer’s story telling using Plato I thin stories to give authority to the tales.
The Modern author in European context, routed in Age of Enlightenment, post-reformation self analysis and sense of individual... as a good Protestant I analyse myself and take responsibility for them.
Model survives in art practice:
Originality origin authenticity innovation signature genius monograph solo-exhibition attribution, creation.....
why do we frame things in this way as a way of getting to know art/artists.
Artist might become generous curators, collaborator, dialogue,
As artist the question must be asked where do I fit.
Rolland Bathes, the dead of the author
The meaning comes at the arrival of the text/work when there is encounter. He saw the traditional view of author/artist as tyrannical, enclosing the week according to one person’s intentions. Work might be better to lose its pre-eminence and steps down to the field of interactions.
(Kennith Goldsmiths work/writings using plagiarism/appropriation as the work. )
Only viewing, engaging and interaction brings meaning to the work
Micheal Foucault what is the author
The author/artist function is to characterise the existence, circulation, and operation of certain discourse within a society’
Author is not attached to everything that individual does and the author might be attached to a number of functions of that individual.
Foucault suggests that subject must be stripped of its creative role and analyses as a complex and variable function of discourse.
We might analyse the cultural setting of the author and purpose and use of artist/author and how is it deployed. Who is useful to for the artist/author to exist? Where is the function? Could ask them sort of questions of functions like teacher or mother. It is this kind of working out. What would be missing if the concept was not there? Does there have to be preposterous. Is the use most useful to art dealer or book agent.
Artist uses ‘mode’ to create ‘matter’; where does the freedom come from to allow them to do that within society? What is an artist? What is the function of that?
It is asking the question why am I doing this and what it is about? Are we not answering this within a wider social structure and beyond the artist as an individual. Is it important that we find a category or context in which to work.
(Watch the ‘film red shoes’ to do art is to breathe.. )
Style could be first person voice or a collectors note, academic, conversation.... imagine having a conversation with.....?
Who is the project important to
This week we have met in our groups to put together a project that we could imagine applying for funding for.
Today I took some of the studnets from my art classes to a workshop with Merlyn Chesterman RE. Accomplished printmaker and member of print group Pine Feroda. She is a senior fellow at the Royal Society of Printmakers.
She was hugely generous and welcoming. Very quickly making us all feel at ease with this new technique. The wood panels were surprising easy to work with. Much more pleasing than a lino print. We did small test pieces and then were given larger panels to begin a more finished piece. I worked with a painting from my sketchbook of Welcombe Bay. Without thinking started by making the mistake of forgetting the image would reverse in the printing process. However it quickly became clear to me that it would work much better as a two colour print and would be an interesting image even if it was reversed. Merlyn showed me how to produce a second block so I could do this. Printing the first blocks image into paper and then offset printing this onto the second block.
We also worked on a graded colour inking up which I haven’t done before but was so much easier than I thought it would be and very effective.
This was such an enjoyable day. I loved watching my student being taught be someone else. She was impressed with how they worked together and how hard they all worked. I don’t remember to photograph my finished prints and annoyingly damaged them transporting them home. One student produced an amazing large scale print which Merlyn and she inked up together. I remembered to photograph that as it was a rather lovely and slightly dramatic end to the day.
I have begun to play with making my own slides using acetate, inks and Brusho. I want them to be fleshy and inky. Flowing with colour and granulation. They are small and can’t fully be seen until they are fixed into the the slide holder. The “paintings” are 35mm by 22mm. I played with making a few then in the evening took them upstairs and put them in the projector. They were so much more than they looked on e projected. The salty ness of the granulation showing up in beautiful detail, the flours bright and illuminated. I place them in the side box “museum of memories”. It feels like this bricolage is taking shape.
Today we began a new lecture series with Rachel Dobbs.
Such a great session so full of information and ideas I cam e home buzzing with possibilities and ideas.
You should aim for great starting points with questions that are not closed. What is the need? What do others want? What is missing? Who else is doing this? Who is living the need? What is happening elsewhere? Could you run a sister project from someone who has already had similar ideas?
Others will know what works, what doesn’t work, bring collaboration.
What is missing?
Do lots of research. How does your project fit with other strategies and initiatives? You don’t want to duplicate. You need to understand what already exists.
Who else is working on projects in this field? Speak to people. Not completing but collaborating? If they don’t want to collaborate find what makes you different.
Who to partner up with. Don’t do it on your own!
Again what’s missing!
so how do you know? Where are your citations? No sweeping statements!
Are people involved
Consultation process. Find out stuff out, prior knowledge, gather information. Radiators not drains...
Stats and Surveys: local authority stats online etc, ie demographic info.
Clarify what is the problem you are trying to solve?
How big is it?
What is going on in this area. Dint ask close a questions like do you agree with me about what we should do but ask what do you think is missing, what should we do, what are you ideas...
What is it a problem or what is causing it and can it still meet the need even to some extent?
What are the underlying problems?
What is your project?
What do I want to achieve?
How are you gonna do it?
Aims are general and broad what do I want achieve overall?
Use your aims to test everything. So you need good aims and they need to be worthwhile...
Asking why am I doing this is really important! Check that this is answered by the aims.
Don’t jump to activity too quickly! Your aims should be objective not subjective. Instead of “best party ever” you would write “activity that is memorable fun involves something unusual or special...”
Objectives are more specific. Indicators or targets.
how can I break down overall aims into a check list of objectives. Ask good questions to get these.
How your going do it needs to be about POSSIBLE outcomes.... more than one answer.... which version is the best answer?
Going through various outcomes with pros and cons...
Which is best and which is possible and realistic!
Today we began a new lecture series with Rachel Dobbs.
it is a long time since my last blog, it has been a significant time in our family. My Father-in-law passed away on Christmas Eve. We were not surprised but still it is so hard to say good bye. I have been working with his slide box and the slides inside. Yesterday felt like a good day to start to really look at them. My work has truly begun to look at mothering, parenting and family and these images are family history. I found pictures that had not been seen for many years. Hidden away because they were perhaps to hard to view. My husband was adopted at 3 months, his birth mother was 17 years of age. She made the choice not to raise him but to let someone older do this. Wendy his adoptive mother died when my husband was 11. Two lost mothers. Wendy was brought to light as we have gained access to his fathers things. She seems to burst out of then pictures, so alive and vital. I have begun a new painting investigating this version of motherhood. It’s tight at the moment but other versions will be looser. It seems to be the way I work. Tight and investigative at first giving a spring board to looser and expressive pictures to follow.
Self assessment: Deborah Last 703
Aims and objectives (shortened version) from my proposal
• To investigate memory painting as a tool for image making
• To explore the key moments of birth and death
• To extend and challenge my painting practice through techniques and display
• To explore ways to bring some form of taxonomy to the collection of memories.
• I am working from an existing practice of painting from memory and I want to work towards a practice that is increasingly about the moment or happening, not as a recorded event but as an instance, a feeling, a happening connected at times to other happenings.
• My key focus will be the beginning and the end of life.
• Working with new surfaces and differing scales and materials I wish to fine tune my painting practice, particularly working with slippery and smooth surfaces. I am keen to keep my practice away from over consumption and toxic materials
• In a recent writing assignment we were asked to explore a taxonomy in which to display an object. This task captured my imagination and I have begun to expand the task. As we could invent our own taxonomy and exhibition/museum space I have begun to explore the idea of a “museum of memory”.
This past term I have had plenty of reason to investigate memories as we have watched my husband’s father come to the end of his life. His death on Christmas Eve meant that we were with our two daughters when we heard of his passing and then our son arrived soon after. The Christmas became more poignantly about family and very much about remembering. There has been a very strong connection to memories that could be described as “the last time I saw you” and “the first time I saw you” and there are plenty of images for exploration around this. I have understandably not been holed up in my studio as much as I might have been over the last few weeks.
However I have begun to investigate the box of slides and for the first time actually had the facility to view them on a projector. What came to light were images that had not been seen by anyone for many years. I have begun exploring the mothers within the family alongside my own mothering experience. Both of our parents did not have children easily. There are stories and images around this that I have begun to explore.
The box of slides also presents a way to store images and make my own “slides”.
I do feel exited about this work and though I have not explored as much as I’d hoped by this point I am raring to get going again. I think there is a lot of investigation around family connections and the journey I myself had into and through motherhood. This has inevitably been influenced and affected by the mothers within my own family. In making the slides I have wanted to make them “fleshy”. One of the comments at my critique was that it felt as if I had imposed my birth experience on the slide box, painting wombs and foetuses. The newly painted slides are about the wetness and fleshy nature of birth and birthing. They are about fluids and cells, DNA within being passed on or not. I am really enjoying exploring this and feel these are really successful. I am hoping to have time to develop these images further and in different media.
The box of slides still feels like it is the index box to my bricolage and as I work through these other, bigger works seem possible, seem to be born out of these discoveries and ideas. Viewing the slides for the first time the absence of both Pete’s birth mother and adoptive mother felt weighty and important, prompting me to paint a fairly tight image titled “The boy with two lost mothers”. I will explore this image further: the initial image being the springboard I hope for more expressive pieces.
I am enjoying making creative connections beyond the University. Curating the exhibition Coast for an arts for life project in Musgrove Hospital has opened up connections to other artists. The title was set before I changed my working focus which is causing a bit of a disconnect for me within this project though I set the titles myself. I’m enjoying the collaboration with the other artists and will produce work that can fit into this exhibition.
Continue to develop these ideas and prioritise my work more having had a fairly long stretch of time when that has not been so possible. To develop works around family responses to Motherhood described through joy and loss. To see this through my own experience and that of other family members through a variety of media and to investigate recording the moments when the slides are viewed. I wish to continue to make connections and collaborations within my practice that have a more seamless connection to my current work.
Crit times are so helpful in that they enable you to display works in progress and stand back from this work and take a good long considered look. It was really important to have begun to explore objects alongside the birth paintings. Most of the discussion at the crit was around the memory box of slides and the Triptych pieces. Though the paintings didn’t receive so much attention they were needed to set up the feel of the space. It was felt that the works had a domestic feel that the plinth was almost like a coffee table.
I enjoyed the format of the crit and not speaking at all but just listening to what was being said. There was a plethora of interesting thoughts, ideas and perceptions around the works. Leaving the Triptych blank made them more sculptural and it will be good to remember this and not over work them. My thoughts to make the insides fleshy and painted needs careful consideration.
The museum of memories box is very much a sketch at the moment and will work better as a more considered object. Could the pieces within it be all slides, digitalising the paintings? Could they be made of ceramic with photo transfers and lusters? There needs to be a sen e that they are more considered.
The crit has made me feel more energised about the work, it is very important to show it and get feed back. I like the fact that almost without realising it the work is becoming quite sculptural.