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presentation given to MA Book Art Students at Camberwell
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reflective practice
10 - 11 - 13
your making - contextual framework
social political
personal
critical/theoretical
historical geographical
institutional cultural
assumed knowledge
reflection
in action - (while doing something)
reflection
on action (after you have done it)
ask yourself questions
lots and continuously
why do you make work?
what’s it for?
what do you want from your work?
what do you get from your work?
what is your work about?
who is your audience?
where does the work go?
what do you like doing?
building a reference point(s)
connections
art history
music
dance
writing
general history
geography/place
contemporary practice science
materials and process’s
understand what you work with
become an expert
timetable
activity 1 2 3 4 5 6 7 8 9
Research
Testing
Sampling
Final pieces
Creating presentation
Presentation
Trip/visit
defining practice
your making - contextual framework
social political
personal
critical/theoretical
historical geographical
institutional cultural
social context
Making and seeing an image always takes place in a social context. The way it is seen and how it is seen are culturally constructed.
Audience for work - who is included/excluded/implicated on the ways an image is produced, circulated and consumed
political context
Specific political issue
broad political issue
gender - race - ethnicity - sexual orientation - class - disability - religion
personal contextBiography - narrative of the selfparticular issues - memoriesWhat motivates/ drives you?Your particular skills as an artist/ designer/writer/photographerWhat strategies do you use when the work is not going well?How do you relate to the forces that in part condition what you know and in which you make things?
critical/theoretical context
Does your work relate to particular critical debates about contemporary art and design practices?
Is your work informed by/engaging with/contesting particular theoretical frameworks/issues?
historical context
Understand how/whether your practice relates to a tradition, with a history
How knowledge relates to periods in time.
geographical contextLocal, regional, national, international, global.
Where do you make your work?
Do you make your work in relation to a particular place?
studio home church city rural cyberspace
institutional context
UAL – CCW – MA Course
Your educational background/experience
Your professional background/experience
Your family background/experience
cultural context
In it’s broadest sense - ‘a whole way of life’ - this relates to all the other categories.
More specifically, what works of artists, designers, writers, filmmakers, photographers, musicians are important to you and your work - why?
mapping your practice
Any other contexts worth considering?
Importance
Overlapping
change - evolution of practice
why find one?
vacuum moving forward
learning growing
position aspiration
HOW
reflective journal
stop
what is a journal?
formatA4, 5, 6, 7, 8
phone
i pad
blog
a journal is a place for...Recording
thoughts, ideas, observations, things
Reflecting
to gain understanding
Analyzing
to further your learning
Concluding
setting out what you have thought about
what’s in it - actual?written notes
diagrams
drawings
sketches
what’s in it - ideas?personal insight
observations
questions
speculation
the work of others
the work of other students
Inspiration
Water has no shape, but it can be any shape.Water can melt lots of things.
We can’t tell the shape of our memory.Our memory will melt in the time.
Strengths: •Using a range of experimentation with different textile processes•Successfully linking photography with screen printed images to produce final designs•Combining images with contrasts in scale•Photographic images•Starting to communicate emotional quality of place•Using a wide range of different materials•Have conquered fear about photoshop and getting to grips with using it as a tool
Weaknesses:•Over-thinking and talking about ideas before experimenting•Abandoning too many ideas before developing them – a bit ‘butterfly-like’!•Over reliance on photography•Lack of focus sometimes and a tendency to jump from idea to idea•More breadth of research needed into other practitioners
Opportunities:•To work much bigger with form and structure ideas•To experiment with performance ideas and use K and U of drama to communicate ideas to audience•To explore other contexts such as fashion/costume•To collaborate with other practitioners working in sound and image
Threats:•Time management•Becoming over reliant on photoshop – just to be a bit wary•Becoming fixed on one location and limited by this – themes should be transferable•Self sabotage through lack of confidence and anxiety about what is expected of me•Trying to be someone that I’m not and forgetting where I am in this process
FINAL WORK
Bob Brown
“To continue reading at today's speed I must have a machine. A simple reading machine which I can carry or move around, attach to any old electric light plug and read hundred thousand word novels in ten minutes if I want to, and I want to.”
p.28. Brown, B. (1930) The Readies. Roving Eye Press.
contentraw
un-thought-out observations
recorded close to the action
think police note book
reflection
stuff you have thought about
connections
notes on the unexpected
questionswhat happened?
why did it happen?
what do I think about this?
what should I do as a result of this?
how do I do this?
how to use itwrite often
note down dates and times
write freely - without hesitation
write down - even if its not relevant
observe and collect
http://[email protected]
materials ambition -
what are you going to do?
processes context
audience
work of others what do you
want at the end?
titledescription of what you are interested in.
