Difference between revisions of "Roaming Discussion: 1916"

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(New page: Roaming Discussion of 1916 with Neil Cummings<br> March 18, 2010 - Triangle Space, Chelsea College of Art and Design<br> In attendance: Neil Cummings, Kristen Lovelock, Scott Schwager, Mar...)
 
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Roaming Discussion of 1916 with Neil Cummings<br>
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'''Roaming Discussion of 1916 with Neil Cummings'''<br>
 
March 18, 2010 - Triangle Space, Chelsea College of Art and Design<br>
 
March 18, 2010 - Triangle Space, Chelsea College of Art and Design<br>
In attendance: Neil Cummings, Kristen Lovelock, Scott Schwager, Maria Chritaforatou and Me
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'''In attendance:''' Neil Cummings, Kristen Lovelock, Scott Schwager, Maria Chritaforatou and Me
  
*This "informal critique" was not structured like the classic "the artist doesn't talk" variety.  
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*This "informal critique" was not structured like the classic "the artist doesn't talk" variety. (As, for instance, in [[''Show Not Tell'')
 
*Remaining focused on one's "subject" - for example, Kristen's concern with co-habitation - should she or shouldn't she move in with her bodyfriend? That's the focus - the references to surrealism and holidays confused this focused - They may well have been a focus in their own right - it just wasn't Kristen's focus and it wasn't working in the service of her focus...
 
*Remaining focused on one's "subject" - for example, Kristen's concern with co-habitation - should she or shouldn't she move in with her bodyfriend? That's the focus - the references to surrealism and holidays confused this focused - They may well have been a focus in their own right - it just wasn't Kristen's focus and it wasn't working in the service of her focus...
 
*Lots of discussion around the frame of the gallery and the power of that frame - there's a tendency to:  
 
*Lots of discussion around the frame of the gallery and the power of that frame - there's a tendency to:  
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#To insufficiently consider the power of the gallery - Maria's painting should have either been bigger or smaller - as it was, its domestic scale wasn't working...
 
#To insufficiently consider the power of the gallery - Maria's painting should have either been bigger or smaller - as it was, its domestic scale wasn't working...
 
*Scott's seesaw provocative - fun and absurd...For Scott: interested in the balance of power. But as Neil observed, this seesaw was weighted in the middle and so this balance wasn't literalized in the artwork. And yet, I know I, for one, felt subconscious bout my own body (my weight) when riding the seesaw and so looked for people who where about my size to ride with...
 
*Scott's seesaw provocative - fun and absurd...For Scott: interested in the balance of power. But as Neil observed, this seesaw was weighted in the middle and so this balance wasn't literalized in the artwork. And yet, I know I, for one, felt subconscious bout my own body (my weight) when riding the seesaw and so looked for people who where about my size to ride with...
*Fascinating to converse while riding this seesaw...physical activity seemed to allow/encourage a different kind of engagement.  
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*Conversing while riding this seesaw...(playful) physical activity allowed/encouraged a different kind of engagement.  
  
 
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Return to [[Walks]]<br>
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Return to [[User:Marsha| Marsha Bradfield's Research Hub]]<br>
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Visit [[Marsha Bradfield|Marsha's bio page]] <br>
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Return to [[artists, researchers, academics and others]]<br>
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Return to [[Main Page]] <br>
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[[Image:Kristen Lovelock Should I Move in with Him.jpg]]
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Kristen Lovelock - part of ''Should I move in with him''

Revision as of 07:43, 20 March 2010

Roaming Discussion of 1916 with Neil Cummings
March 18, 2010 - Triangle Space, Chelsea College of Art and Design
In attendance: Neil Cummings, Kristen Lovelock, Scott Schwager, Maria Chritaforatou and Me

  • This "informal critique" was not structured like the classic "the artist doesn't talk" variety. (As, for instance, in [[Show Not Tell)
  • Remaining focused on one's "subject" - for example, Kristen's concern with co-habitation - should she or shouldn't she move in with her bodyfriend? That's the focus - the references to surrealism and holidays confused this focused - They may well have been a focus in their own right - it just wasn't Kristen's focus and it wasn't working in the service of her focus...
  • Lots of discussion around the frame of the gallery and the power of that frame - there's a tendency to:
  1. Make stuff that looks like art - for example, how Kristen hung her bathroom paintings - they went from being in a shelf to being in a gallery
  2. To indulge in creative installation - install works in a creative fashion - play artist during the installation process when instead it would be more useful just to be an installer - connects to making art aesthetic
  3. To insufficiently consider the power of the gallery - Maria's painting should have either been bigger or smaller - as it was, its domestic scale wasn't working...
  • Scott's seesaw provocative - fun and absurd...For Scott: interested in the balance of power. But as Neil observed, this seesaw was weighted in the middle and so this balance wasn't literalized in the artwork. And yet, I know I, for one, felt subconscious bout my own body (my weight) when riding the seesaw and so looked for people who where about my size to ride with...
  • Conversing while riding this seesaw...(playful) physical activity allowed/encouraged a different kind of engagement.

Return to Walks
Return to Marsha Bradfield's Research Hub
Visit Marsha's bio page

Return to artists, researchers, academics and others
Return to Main Page

Kristen Lovelock Should I Move in with Him.jpg

Kristen Lovelock - part of Should I move in with him