ASSESSMENT TASK 1 DUE
- Thoughts on Biennale of Sydney – Superposition
- Artistic Director Mami Kataoka statement
- Review by Andrew Frost
- Chosen artworks? Other venues?
- Questions regarding Assessment 2?
- Discuss research strategies
- Outline expectations for Assessment 3 – 6×6 working groups, individual or collaborative projects
Activity 1. Proposal Marketplace
- Write TWO major themes of your proposed project onto the A4 sheet provided e.g. gender & cinema
- As a group cluster similar themes into six groups of six proposals
- Opportunity to shuffle groups
- Discuss overarching group thematic
- Spend 15 minutes each sharing individual project proposal and intentions
- Mind map proposals onto a single sheet of paper
- Agree on a draft workshop schedule:
|Personal||What is your story? what right do you have to tell this story? Pedigree? Intentions?|
|Intellectual||What ideas are you engaging with? i.e. theories and concepts|
|Creative||What influences your creative production? i.e. artistic traditions|
|Political||What are the historical and social contexts of the research? i.e. governing ideologies|
|Material||What is the physical dimension to the research? i.e. production technology and artefact|
Modes of Production Part 2: Collaboration
The Modes of Production seminar series aims to both theoretical and practical trends in contemporary media arts practices. The discussion intends to compare and contrast the nature of creative production between (i) the single artistic author, (ii) collaborative or team based practices, and lastly (iii) organizational and institutional modes of production.
The Artist (RE-CAP)
Australia Council Report (2017) – how much Australian artists earn and how they earn a living
“The fundamental processes of creativity, the pursuit of an artistic vision and the passionate commitment to art that characterises art professionals—these things remain at the heart of what it is to be a practising artist. For many artists the real challenge is to keep hold of these core values in such a rapidly changing environment.”
Can artists earn a living from creative work?
Average total incomes for artists remain 21% below the Australian workforce average, and income from creative work has decreased by 19% over the last seven years.
How are artists’ skills and capabilities aligned with future workforce needs?
Artists’ skills and capabilities are considered to be among those least likely to be automated and increasingly sought in the workforces of the future.
What is ‘The Artist’ as a creative mode of production?
The artist in history…
creative genius, master of craft, cultural critic, philosopher, celebrity
The artist as an individual…
subjectivity, liberalism, existentialism, phenomenological, expression, “a unique vision”
The artist in their practice…
control, direction, clarity
Andreas Gursky (b. 1955)
chromogenic colour-print mounted to acrylic glass
image: 73 x 143in. (190 x 360cm)
In 2011, a Rhine II print was auctioned for USD$4.3 million (then £2.7m), making it the most expensive photograph ever sold.
Rhine II provenance
|Personal||son and grandson of commercial photographers, art school, university professor|
|Intellectual||Becher School, objectivity, typography, art history, photography, globalisation|
|Creative||Becher objectivity / typographies, advertising, fine art, photography, “when reality corresponds with the composition of a painting”|
|Political||globalisation, objectivity, simulacra|
|Material||art object, fine art tradition, largest photographic print possible, catalogues, art sales|
Q: How does a collaborative mode of production influence provenance? For example, how would your proposals vary as individual or collaborative projects?
Q: Is a creative collaboration different from being employed by company?
Q: Does collaboration suggest a mutual interest in working with each other?
Q: Is collaboration inevitable or are some creative processes unique? For example, are Gursky’s relationships with his lab printers, photo-tech developers, or his peers at the Becher School collaborative?
Q: Why do we celebrate film directors as the creative author?
- Socratic method e.g. Plato’s Symposium
- Dialectic vs didactic
- Hegeleian Dialectic
Contamination as Collaboration – Anna Tsing The Mushroom at the End of the World (2015)
How does a gathering become a “happening,” that is, greater than a sum of its parts? One answer is contamination. We are contaminated by our encounters; they change who we are as we make way for others. As contamination changes world-making projects, mutual worlds – and new directions – may emerge. Everyone carries a history of contamination; purity is not an option. One value of keeping precarity in mind is that it makes us remember that changing with circumstances is the stuff of survival. p28
Q: How does the collaborative nature or these case studies influences the provenance of their work?
Personal, Creative, Intellectual, Political, Material
Soda Jerk – http://www.sodajerk.com.au/
Dominique and Dan Angeloro
“Formed in Sydney in 2002, Soda_Jerk is a two-person art collective that approaches sampling as a form of rogue historiography. Working at the intersection of documentary and speculative fiction, their archival practice takes the form of films, video installations, cut-up texts and lecture performances.” – https://www.acmi.net.au/events/terror-nullius/
Barbara Cleveland (prev. Brown Council)
Diana Baker Smith, Frances Barrett, Kate Blackmore, and Kelly Doley
“Barbara Cleveland’s projects are informed by queer and feminist methodologies that draw on the historical lineages of both the visual and performing arts. Their recent video and performance works are deliberations on history and memory as embodied action, as fiction, as mode of collaboration.”
ALASKA Projects – http://home.alaskaprojects.com/
“ALASKA Projects is a Sydney based Artist Run Initiative established in 2011.
Situated across two disused spaces in a Kings Cross car park ALASKA Projects established an exhibition program that crosses visual arts, dance, performance, music and film. To date ALASKA’s achievements are born out of our core objective to support artists to realise dynamic and innovative work. A commitment to diversity is at the centre of ALASKA’s philosophy.”
Frontyard Projects – http://www.frontyardprojects.org/
“A Not-Only-Artist Run Initiative. A pro-active, flexible space for practical skills-sharing, community cultural engagement and critical research. Our aim is to challenge, facilitate and nurture collaborations between people with a passion for culture and to build a more resilient and sustainable independent arts community for the future.”
ASSEMBLE – https://assemblestudio.co.uk/
“Assemble is a multi-disciplinary collective working across architecture, design and art.
Founded in 2010 to undertake a single self-built project, Assemble has since delivered a diverse and award-winning body of work, whilst retaining a democratic and co-operative working method that enables built, social and research-based work at a variety of scales, both making things and making things happen.”
DIS – http://dismagazine.com/
Lauren Boyle, Solomon Chase, Marco Roso, and David Toro
“Its cultural interventions are manifest across a range of media and platforms, from site-specific museum and gallery exhibitions to ongoing online projects. Most notably these include, DIS Magazine, co-founded with Nick Scholl, Patrik Sandberg and S. Adrian Massey III in 2010 as a virtual platform that examines art, fashion, music and culture, constructing and supporting new creative practices.
Since being founded, the magazine has expanded into an international community of writers, photographers, musicians and DJs. Recent ventures include DISimages, 2013, a fully operational stock photography agency that enlists artists to produce images available for private and commercial use, and DISown, an ongoing retail platform and laboratory to test the current status of the art object.
Across its various endeavors, DIS explores the tension between popular culture and institutional critique, while facilitating projects for the most public and democratic of all forums—the Internet.”
dis.art – http://dis.art/
TeamLab – https://www.teamlab.art/
“teamLab (f. 2001) is art collective, an interdisciplinary group of ultratechnologists whose collaborative practice seeks to navigate the confluence of art, science, technology, design and the natural world. Various specialists such as artists, programmers, engineers, CG animators, mathematicians and architects form teamLab.
teamLab aims to explore a new relationship between humans and nature through art. Digital technology has allowed us to liberate art from the physical and transcend boundaries. We see no boundary between ourselves and nature; one is in the other and the other in one. Everything exists in a long, fragile yet miraculous continuity of life.”
“Founded by mathematical engineer Toshiyuki Inoko in 2001, teamLab is comprised of artists, programmers, engineers, computer animators, mathematicians and architects who collectively ascribe to the descriptive “ultra-technologists.” As a practice, names of teamLab members are not cited in works, they have a flat organizational structure and emphasize collaboration over individual genius. They are also very particular about the spelling of their name (small ‘t,’ big “L”). Their mission is to explore how humans relate to nature in an age when much of our life is governed by technology.”
– Expression? Shared experience? Multiple perspectives, community/co-operative
– diverse contribution / contamination, multiplicity, collaborative method (relationship to audience)
– co-operative, community, diverse contribution / contamination, dialogue (method), validation
– validation, momentum
– space, resources, skills, ownership?