David Ryan- The dilemmas of a contemporary practice

Place for aesthetic thinking today? invisibility of painting. Pamela less:forgetting the artworld , Claire bishop: Artificial hells, David joselit: after Art.

Art world on the verge of exhaustion, expanded to the point of no clarity. What dose it mean for the practice of art. Politics- Critical moment- normalization routine. Globalization. Steven Mcqueen.

Claire Bishop. Lucy Alter-radical fashion, giving workshops on resistance. Notion of social practice, participation symbolic exchange of acting out what has disappeared. 

David Joselit: image saturation points to why paintings been resuration of the social band that destroyed politically  Awi Weiy-blogs. Real work beginnings after art , with networks and formats. Art takes place. painting dismissed as luxury items in capitalize society. 

Wang lee- pop painting, beyond routine,scripted , tired. repeating. Artist concern less of an individual creator of an work more . Collapse of the distance of artist and audience. 
David Joselit- painting beside its self. How dose painting belong to an network? How might painting meet the challenge of mechanical reproduction? 

Dont get the subtle changes in digtial pictures, shadows tempral, sense of time and seqence of time in teh image. classical litrual network. Moorney- the black colour. represetntation of misfortune soilder. The tailor-reproduction of lower class worker, cutting courtasian cloth. idea of network not self contained. paints to think across other paintings . think of how to encounter painting. painting as a contridrictory object. relasionship of surface and context. The surface enables seeing in. Volhythm- media and materiality - keep that as a contordictary- or more of a simutaniously. emphermal light enriches our visual perception.

Water benjamin- Site Spercific relasionship to aura. aura broken if moved. time and place been put in importance of experinance.


Rachel whiteman. Work gathers its own movement different mode of working in one piece. piece becomes its own artifact. integral to the work itself.

Katlimer Alson-space and gesture.

Micheal freed- questioning the ruleity of itself the brock in brock.

Rhys and hannah present 11th of march

Bristol based and in contact with the royal standard in Liverpool and part of rouge galleries series of internships and residential  They explored using fanzines as a platform instead of a space using social interaction to get to build up networks of artists by cooking for them and taking them out for drinks with building these connections helped pull in favors to put the zine together. They show work on the internet via http://bubblebyte.org/ this opens up an international audience. They don't archive there work which creates a sense of urgency to see the work and keep following what will happen next. They took over other peoples websites in the Liverpool to render them function less  Later opened a gallery space in London that features artists who have been dropped by their galleries this helps the art practice network and became interested in pop up shows around the UK. 

intercity mainline-next project. using fanzines as a platform instead of an space. Appiled for art concil funds. went to different citys  as part of edinbrough show. then got invited to do a show. janary 2009 present. articfact of reflecting on the city and show artist work. constant ballart. rent warehouse space.

International internet space £100 for two years. no archiving shows, so when shows finshed the work is gone. take over peoples websites- liverpool binenal.

have opened downloadable space.
gallery space in london- 12 aritst showing artist who have been dropped by galleries. Why? to help produce a network. curating has changed their own practice. pop shows.

Gavin Wade- eastside project

http://eastsideprojects.org/

honk if you love contempary art. set up artist run space that was impressive straight away . gallery could be the art work . why wouldnt the object be art. pleasure island. eleagent concrete space. how could gallery be useful. bulid around teh sculpture. billboard not comisioned by advertizing purpose for an public space- reaching wider audience. making art with you. walls have different jobs. this is the gallery, and teh gallery is many things- the work, in the midst of things.

"Eastside Projects (EP) is an exhibition space with many differences. It is a free, public space that is being imagined and organised by artists. We commission and present experimental contemporary art exhibitions, and propose ways in which art may be useful to society. EP is a questioning structure that in turn produces more questions and also, of course, possible answers. Our ambition is to incorporate the methodologies of art-making at all scales and functions of the organisation.
We believe in working collaboratively towards change and do so to support the cultural growth of Birmingham. We do not make art for the public. We are the public that makes art. The artist run space is not a stop gap. The artist run space is a public good.
For in depth information on what the organisation is made of, how it was set up, who it is for, how it can be used and what it can offer see the current draft of the User's Manual. To take a virtual tour of Eastside Projects during Painting Show click here."

Julie Crawshaw

the way artworks; relationship of practice. reseacher- anathpology. The role of art describing what involved in artist lead practice. look at devoloping platforms for artist. festivals,galleries,studios, communsred artwork,magizine editor. park and ride-looking at art centres. vare-visual arts networjk festival in discused factory space bringing artists together. global conversation. midwest-how to connect, create space for visual practice, debates , community. ZKM germany.

Artist Talk: Charlotte Harwood 7th of march

Harwood creates emptyness , arkward slips that escapes nmetaphor. Paused in construction. She looks at Lacan and the subject of the process itself and the fundentmental emptyness. The need to have confussion is apparnt in her work. Contain-container-context. Dealing directly with aesthics, lanauge, communication and myth to create debate and friction in her work. Icon 2011 , is a piece that uses objects that has socailly constructed myths attached to them such as the magpie. But the seduction of materials became more intersting than the start of the conversation in the work. The magpies were ment to be a critical point but turned into something far more seductive in a way of adversiting so this to her made the work fail. How to escape the methaphorical?

Meeting 20th of march

Friday barracks mill react tot he space and the materials- photos taken/video/drawing. Time limtied sections of production scout around check out materials work with paint ( mabye spray paint) colour blocks with lines. movement in lines,balance weighted materials.

look into the relation of materials record the movement of creativity.
Photos of disused shop fronts and plans around it. how work would tie into the theme
Deterroilization - roland barthes.

The ephemeral

I would like to produce an exhibition that interprets the theme of the ephemeral. How a piece of art or the exhibition itself can change over time. I would like to develop this so the audience takes apart and has some responsibility in how successful the exhibition is instead of just a passive spectator role. Drawing the viewer in to the experience instead being detached from the artists thought process / the other viewers in the exhibition space. I would like to involve a group of artist who is willing to have their work changed by artists and non-artists alike whether this is just instillation based artist or more of a mixed discipline approach and the content of the work itself isn’t as important as the fact that it can be a fluid moving situation. The participation would work by the viewer having to add or take away something from the pieces of art shown each day or another idea is to have the artists in the exhibition space between limited times each day turning the gallery space into more of a studio atmosphere and allowing people to help create the pieces bit by bit each day which would be shown on the end night of the show. Each day will be documented and then placed onto a blog , which will also be posted onto facebook showing the progress and each day have flyers inviting people to come along. The key idea I want to explore is participation and how without the visitors the pieces would either not exist or exist but the exhibition would not of being successful due to the lack of outsider participation in removing items. The collaborative process of the exhibition making being more important than the outcome. I want to lose the traditional sense of the look but not touch and I believe this would also help me develop my articulating skills and not being so insular in producing work. This would also go towards the theme of the myth and the role the artist take when producing work . Artists work that have influenced these ideas are Felix Gonzalez-torres’s candy spills in which the vistors took one sweet until they had all gone in the end. Jeff Zimmermans work is inspiring on the ephemeral sense that after the exhibits time is up the work is white washed with minimal documentation. Jessica wittes bird seed work also showed the ephemeral and also the sense of destruction by the audience. “The work was essentially destroyed (at least 80%) by the end of the two-hour opening reception.  Explaining the “empty” gallery over the month and a half-run of the show proved a challenge to those who did not see the installation in its pristine form.” Rirkrit tiravanija,

Theme

The following notions/ideas were set as a starting point and what our exhibitions should be based on we have to pick one in doing will help form our groups. This allows for us to be part of a group that will have similar ideas instead of just picking the people we talk to in the studio on a day to day bases. I am excited about having fresh inspiration and ideas to work from and other peoples involvment in my work even though I can see it being challenging as well. 

THE EVENT
 One off evenings , audience interaction , performance, collaboration with musicians.

SITE
Site specific/ site responsive , Non-gallery sites, engaging with the history of space , place/space , work only exist in the site intended, place and space conversation , places built not as exhibition space, art not as a commodity.

THE GIFT
Exchange e.g Pedro Reyes at FACT , Felix Gonzales Torres , Artefacts that can be given away during the exhibition or sent to an audience

MYTH
The myth of the artist e.g Gilbert and George , Joseph beuys,Marcus Coates , Rodney Graham.,The gallery as a convention, Cultural myths , Literary and film influence,

TRANSIENCE
A short lived exhibition , a changing exhibition or event , temporary, exhibition being transience last a minute- hour , exhibition could change, virtual space, exists physically

THE DIGITAL
Simulacra,virtual space,placing work in the digtal realm and finding an audience/starting a dialogue.

THE EPHEMERAL
The artwork is not permanent,changing, disappearing, documentation essential, might erode,decay,disappear.

PUBLISH AND CIRCULATE
publish and be damned,bookworks,fanzines,artist books,circumventing established channels,consider how this work reaches an audience.

REIMAGINING THE GALLERY
Artist led activity,interrogating different gallery traditions-salon , museum,white cube, purpose built or appropriated spaces. Apartmetns and houses used by gallerists e.g Danielle Arnaud in kennington. Neutral space, what else a gallery can be? digital?

Art and Audience 2

Aims

• Whilst collaborating and working in a team focusing on the exterior communication involved in putting on an exhibition outside of the studio space in the public domain. 
• To develop skills , understanding and practice in the context of the professional art world, being introduced to a range of curators and artists who will offer an insight to the thought processes needing when planning, promoting and exhibiting artworks. 
• Develop exhibition concepts as a group and make proposals to identity possible exhibitions venues. Negotiating the duration of the event, establishing available exhibition spaces, curatorial decisions, producing artwork for exhibition, insurance, risk assessment, public liability, transport, publicity and sponsorship.