Talk:Mary Anne Francis: In Search of the author...in the art school

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UNEDITED NOTES

See bibliography in circulation - includes various texts MA mentions in the lecture... An exercise to start instructions: words, thoughts that you have for the word "the author": (1) voice (2) situated (3) POV (4) inscription... What are the conditions in which art school authorship takes place? Towards a theory of art-school discourse (next lecture: What are the implications of this theory of discourse? What is its value for the community and beyond?

Let's start with the author - designate the circumstances in which things are made - conditions of production (Marxist)...way to take us into the production of things...Tendency to think of the author as a person but this is problematic...we might think of the slippage of the author as inanimate...Charles the First - I write for Christ - medium for the words of God - concept of the "emmanuencis" "The slave at hand" - scribe - split idea of authoring...God as the author...human conduit...slippage in the term...And we can think of someone else being a puppet for someone else's ideas...

2. Early example of telephone art: Moholy-Nagy Telephone paintings or EM3 (1922) - instead of furnish sketches, the work was done over the telephone...and this gave rise to the development of telephone art...God and scribe...get the reversal in a secular age...the artist becomes God and the producers become the humble writers.

3. Damien Hirst, Andy Warhol, Jeff Koons: Why do we still persist in referring to the named individual, Damien Hirst, as the author of the work? What are the other things authoring artwork...Nudging at Six Characters in search of an Author...Terrain of authorship turns a lot on its head...notions of cause and effect become inverted...

  • We might think about why we, as human beings, are authors may relate to humanism...evolution...technolog

"Authorship" is more useful than "the author" -

  • Aren't authors usually associated with writing? Authors and books? Why is author better than artist? The annoying thing about artist is that you can't turn it into an abstract noun - there's not artistship - perhaps this sugggests that art is even more associated with the human being the author...

It's not just about asking about you as makers...but also what: what really makes our work? What are the factors? that make our work....

MC Escher - Drawing Hands - Lithograph (1948) - starts to address questions around art and looking at how it gets produced...art doing theory...

A) Looking at the way that art answers this question - art gives us clues - Marcel Duchamp 3 stoppages etalon 1913-14 - dropping three threads from a height equal to their length...Preserved meter; preserved chance...Used these stoppages to make The Large Glass - standard stoppages - talks about "chance" as author - a bit disingenuous... Trying to purge the artist as intention - looking at other aspects: the unconscious

B) Angela Bulloch Pushmepullme Drawing Machine 1991 - responded to you and your presence..but you were unsure what in particular produced the line (gender, movmment, heat) Tyson - The Art Machine...How far does the artist go? How much control do you have?

c) Mario Merz Igloo - Fibenachi series...mathematical series - pattern of numerical addition...proven = this often appears in nature. Relates to letting maths play a key role in making your work.

D) Morris Louis Alpha-Pi - way the paint drips determined by whole host of conditions - viscosity,

E) Fiona Rae - artworks reference previous artworks - classic example: Manet refers back to Titan, Koons refers back to Duchamp - art history can also be an author of sorts.

F) Damien Hirst - outsourcing...and using machines...

For MA...key question is how artworks refer to their own authorship?

What does art tell us about authorship? What modes are available to us in the art school? What being in an artchool do for us to access modes of authorship? Particular history...particular outcomes...

Looking back at the lifedrawing...cultural institutions...lecture hall vs. the studio...The very idea we're here to think about ideas...about art history...

Brief history of the early art school - Main components - worked so hard...passion...died...destitute... 1837 - First Government sponsored art school....Fine art and the ambition of that on the one hand (non-useful production of objects) other hand...training of artisans...distinction between training and vocation...riven with class snobbery...Design = manufactors on teh one hand and art being for high cultural practices on the other...distinction between technical education and art education... If you're going to train people to make pots...what kind of training do they need? William Brice (Dice) - don't give artisans ambition...Keep peoplein their place, don't give them horizons. What this mean in practice - not allowed to draw from live...Questions around who can see the human body...Endentured to a particular kind of training...Factory-like approach to what drawing might be...Benjamin Haden - lobbied Parliment for art school...everyone should have access to life drawing...emphasis on knowledge (not just skill) we're talking here about social mobility in Victorian culture...what it is to be a human, human rights...potential...All of this is to argue that "teh lecture" was fought for on University education...

Reason for the founding of the art school...


Lectures in art school - contextual studies...critical studies...the theory strand in art and design allows us to start thinking about the content of our work...understand what we've done and what we're going to do...tool for reflection...Theory concerns itself with the content of art's discourse...allows us to think about what's in an artwork...what it does...theory and practice are simbiotic...theory informs practice informs theory informs practice...The art school project is a coherent one...But...if we start thinking: how do we hear theory, how do we see practice? Major disjunection involve different languaging...How do you speak to someone when you don't speak the same language? Quinn's argument for barbarousness....If we listen to language of art and design, we hear it bieng barbarous...but at another level, they don't...many discourse has an overalll...scientists don't present you with experients...How did this barbarous situation come about? Came about because of a failure: 19th bourgethey wanted a revolution in pedagogy...what they wanted is the UK to be dominant in manufaturos trade...Engilsh designs weren't English but fresh...England to rule the waves. Also about maximizing profits. So the decision was taken to train people domestically...another reason: explosion of everyday items...industrial revolution...and there's a moral panic around taste...and the bourge...getting very concerned about taste...and the wrong kind of taste is going to be encouraged by these objects. The art school seemed to be the answer? The Normal School of Design - est. by the board of trade - clear idea about economic investment....this is where the Royal Academy had been. RA vacated from this building; new art school installed...at the same time, the V&A established...Victorian explosion and concern with mass sensbility...HighPoint: Quinn - this desire to police mass sensibilty when, in 1852 - Henry Cole's exhibition - the principles of correct taste - "The chamber of horrors" staged an object lesson in bad taste...totally backfired...Because this was such a failure...we are compelled to remember the faiure of this critical moment in the inertia of the deadlock of theory and practice...

We've got into a very particular idea of authorship - authorship is divided - can't be reconcilled - don't try and solve the problem, but to understand it...we might think this barbarous language is not productive...it's not about us only having one language...but the fact that we occupy different spaces...very prodcutive because there's something very critical between the clash between there two languages...cirtique isn't abotu saying I disagree with you, it's about finding a language that disagrees with that langauge.

French education believed to be superior - French govenemnt had thought about systems of copyright...whereas in England...at the time...you had no purchase on your designs...System of authorship in France much superior...

There were places before the art school - academies - weren't government sponsored...art was taught...example...the RA...Education not about a rigorous program...