Today’s lecture was about the relationship between the individual and society.
Patrick Heron (1920‑1999), Untitled, 1971, Screenprint on paper, 587 x 794 mm, Tate
Patrick Heron declared that his work was not complete until it had been seen by others. The group had a debate about this statement – Should art be made to be seen or just for the maker? One person was quiet happy to enjoy the process of creating and had no need to show his work whilst others needed that confirmation. Some people were unable to produce any work as their practice is totally collaborative. I heard a voice in my head from a previous tutor of mine, ‘Dorcas, you must get out there and show your work else you’ll end up on your own surrounded by stuff.’
Work has to be personal and not produced to please others yet mindful that it is to be seen. Self censorship may occur if the final exhibition is too much to the forefront, it may inhibit the outcome.
Does the art exist if it isn’t seen? Does it need a set of eyes…..it can’t be seen in the dark.
What is function of social engaged practice?
The Politics of Aesthetics by J Ranciere. About how an artist might operate in a political sense – not an easy read. But there is the philosophical approach and the practical approach. By using research methodology to explore our practice similar results may be reached.
Gallery as Community by Marijke Steedman. A series of talks at the Whitechapel Gallery. Art is seen as an economic and social tool. Where ever artist have moved into an area it improves its economic status – east end of London.
Artificial Hells by Claire Bishop. This review is taken from Amazon website
For over a decade, conceptual and performance art has been dominated by participatory art. Its champions, such as French curator Nicolas Bourriaud (who invented the term ‘relational aesthetics’ to describe it) and American art historian Grant Kester, believe that by encouraging an audience to join in, the artist can promote new emancipatory social relations. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art. The book follows the trajectory of twentieth-century art and examines key moments in the development of the participatory aesthetic, in both Europe and America. This itinerary takes in Futurism, Dada, Situationism, Czechoslovakian Happenings, and Argentinean Conceptualism, and concludes with contemporary artists such as Thomas Hirschhorn, Tania Bruguera and Jeremy Deller. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to expose the political and aesthetic limitations of this work. In ARTIFICIAL HELLS she not only scrutinizes the claims for democracy and emancipation that the artists and critics make for the work, but also questions the turn to ethical (rather than artistic) criteria invited by such participatory and collaborative art.
Jeremy Dellers British Pavilion, Venice Biennial 2013
The viewers become the artwork.
Bradley Garret photographs unseen places in cities.
Crumlin County Courthouse
Folk art – is this outsider art?
Yvonne Buchheim Song Archive Project
Chris Milk and the Johnny Cash Project – the internet has allowed people throughout the world to see and collaborate in art work.
I realise that my notes are very thin for this week’s lecture – can’t win them all!