Writing About Art - Semester grade 57
Academic 47 - notes below
Marker's feedforward: suggestions for academic development to support future assignments and how effectively
previously identified targets have been addressed in this assignment.
1. Ensure that you always copy over all the targets from previous assignments for the art history & theory strand
of modules into the Feedback Sheet and also add notes explaining how you addressed these targets.
2. Start introducing specific artworks early in the essay.
3. Ensure that the relevance of references made in the text is always clear (and avoid overlong lists of ideas or issues to which an artwork might refer).
4. Future essays will often be stronger if further links are formed between artworks from different stages of art
5. Ensure the ideas of theorists are explained in sufficient detail and also ensure these are securely linked with the artworks under discussion.
6. Ensure the central theme of the essay is linked clearly with the artworks under discussion.
7. Check if it is clear how any new references introduced in the conclusion add to the argument being formed in the essay (and this will sometimes mean limiting the number of new areas referred to as well).
8. Always support your essay with relevant images that are referred to in the text.
9. When the author for a webpage is unknown, use the name of the website.
10. Devote sufficient time to writing up essays to ensure that the interesting points you have compiled in notes can be translated into a well-structured final essay.
11. Linked to the previous point is adding another layer of proofing before submitting the final version of the essay.
WAA Assignment 1
Marker's feedforward: suggestions for academic development to support future assignments and how effectively previously identified targets have been addressed in this assignment.
Jo response and Action Plan WAA
Look into all of the artists mentioned as well as those that could be good moving forward.
THIS ARTIST IS REALLY IMPORTANT :
Robert Adams : Sapce Cinstruction with a spiral
The spiral was a recurring motif in the work of a group of artists, which included Victor Pasmore (1908-1998),
Anthony Hill (b.1930),
Kenneth Martin (1905-1984),
Adrian Heath (1920-1992) and
Mary Martin (1907-1969),
who were committed to re-establishing non-figurative art in Britain in the years following the Second World War (1939-45). In ‘Abstract Art’, Kenneth Martin’s contribution to the group’s first publication Broadsheet No.1: Devoted to Abstract Art I, published in June 1951, Martin clarified the group’s position by stating that their strain of abstraction was not abstracted from nature but rather copied ‘nature in the laws of its activities’ (quoted in Grieve 1990, p.774). To a certain extent, this reflected Naum Gabo’s (1890-1977) thoughts on the role and form of visual art in a scientific age. In his Trowbridge lecture at Yale University in 1948, Gabo, who had himself received a formal science education, argued for an abstract art that was not merely formal, but that was an adjunct to a scientific understanding of reality.\
Louise Bourgeois - Spirals
For Bourgeois the spiral represents the abstract concepts of control and freedom as well as being invested with a personal symbolism. The sense of the artist exerting a level of control over her work is compounded by the decision to display the prints in a grid formation. The use of the grid is also a common feature of Bourgeois’s works on paper and is perhaps a reference to her training in geometry at the Sorbonne, the study of which had a direct impact on her artwork: ‘My minimalism came from my love of geometry. Sometimes it is inherently dynamic: a study of conflicting forces, which is never static’ (quoted in Frances Morris (ed.), Louise Bourgeois, exhibition catalogue, Tate Modern, London 2007, p.148). The use of both free-flowing and precise spiralling lines in Spirals could also be a reference to the duality of control and freedom as described by the artist.
Joe tilson - Livingstone writes, ‘on a journey that replaces a conventional understanding of ‘linear’ time with a more expansive concept of ‘organic’ or circular time.’ https://www.marlboroughgallerylondon.com/exhibition/joe-tilson-alchera 23.1.22
LIZ feedback from Communicating art in the environment
Appalling feedback with clear evidence that all evidence presented has not been considered as part of the grading and tutirials have not been held to direct expectations aside from names of artists : - take it as is, note that it is biased and quite judgemental but rise above it.
You are you you, you are proud of your work and what you did, the fact that you have issues in memory adn recall plus were not given the expectations of how to present, given that the new students both scored quite low comparative to the students that have been in situ for a long time.
Artist suggested to look into by Liz :
Artists to research:
Charlotte Prodger https://lux.org.uk/artist/charlotte-prodger
BRIDGIT (2018) Lindsey Seers https://lindsayseers.info/
Ben Rivers http://www.benrivers.com/
Tacita Dean https://www.tate.org.uk/art/artists/tacita-dean-2675
Academic research : 50
However, it is really important when presenting your work that you demonstrate the academic research you have carried out and make evident your understanding of how the artists, writers, and theorists and has had a bearing on your own work."
Is the issue in the blog? what needs to change in order to make it a better grade?
Testing of ideas: 52
how you tested these ideas in practice – how widely did you experiment and what did you find out.
Blog tests were not looked at and the blog was touched on but not really based as consideration. The presentation frustratingly led the results.
Justification of final outcome: 60
another cliché which is often seen in stock imagery for advertising (freedom, peace, escape, etc).
The music being an issue for Liz, and the fact that images used for her interpretation around cliche of stock imagery, maybe I should have made a glossary. I don't understand why it might be an issue to have cliche in the work, although the seagulls were a conversation with the other, the birds and the two specifically that flew off into the ocean was an experience that I recaptured, not became it was the cliche, but because it was something a conversation between me, the ocean, the sky and embodied in the bird at that time. The start of different life, a different perspective with the old life disappearing n the horizon. The feet on the beach was a retun to the same beach, more of a closuer, a representation of walking and continue to walk, was it cliche possibliby, do I care, not really it was the response at the time. it was the closure of acceptance of greif in time adn activity, the spiral of life. yes a cliche but also how I see the world.
A spiral represents the ever-expanding universe. It is perceived to be the torque of the universe. It is a symbol of growth, evolution, and expansion. The spiral is also a symbol of cycles and rhythm in this nature. https://email@example.com/spiral-of-life-natures-secret-code-introduction-f5252b6f4ec
To research further : Inner worlds, outer Worlds, David Schimdt
Marker's feedforward: suggestions for academic development to support future assignments and how effectively previously identified targets have been addressed in this assignment. 1.
You asked : The summative feedback for the module and the developmental opportunities of how this links forward to the next module, as I believe this is a stand- alone module and therefore would welcome how this is meant to be evidenced moving forward, aside form the blog.
The Communicating Ideas in Art & the Environment is a practice-based module.
We expect the learning outcomes from this to feed into the work you produce for your final Degree show in May.
At this half-way stage in level 6 you are very close to producing the body of work that you will exhibit in Semester B.
NO REAL ANSWER JUST OFFICIAL STANDPOINT - Clarity needed
2. You asked A method of capturing research that is clear and able to be recalled more easily.
As at present I am having issues around recalling new information. Ideally, a good system of notetaking and tabulating these notes to easily find your references would help.
Pryle may be able to help recommend a method for this.
Try Evernote which is a software programme for storing notes and research.
Zotero, also recommended. Writtle has a new piece of software available to staff and students – MindGenius – which is available as a Windows application. Already in use and now catalogued
Here is a link for downloading a version onto your own device – use this link http://edge.mindgenius.com/MindGenius90001.exe and this license code to install it YG99SU-111665-210647158 - Does not work for Mac
3. Following on from this point it has been noted that although you mention theorists and writers it is not clear whether you have been actually reading their key works.
You did mention a podcast in relation to Povinelli?
As you have been given specific references to read and research by tutors that, in their opinion, would help with your project it is important that you take these up.
If you are struggling with texts – and theory texts are not easy – it is possible to get support from both the library and Student
NO offer of tutorials or ability to discuss with actual lecturers: Artists suggested were explored so what is missing - Artists shouod have context and tutirs should be listening to intetnion then offer advice. Lecturers arent a google search, they should lecture.
Have you experienced any difficulty with this before and have you been assessed for Dyslexia? _ A little out of the lecturer juristiction and should be discussed in a tutorial as it is identified at this point that the learner may be having some issues.
4. Making time: You seem to have a busy life, and it may be that other commitments (domestic, family, work, conferences) and taking time away from your studies.
It is fair to say that studying for the final year of a degree course (which is undoubtedly the hardest year) is a huge commitment in terms of time and attention.
5. Practical suggestions for taking the video work forward: Try making an audio walk from your material. Janet Cardiff’s work is very relevant as she uses audio walks that invite an audience to ‘walk in my shoes’ which seems very similar to what you are trying to achieve.
Use your text (the voiceover) to make a sculptural object, or a wall work (like Lawrence Weiner or Fiona Banner).
6. Please follow up on the artist references given in the last set of feedback. This is a taught degree course and following up is part of you learning experience.
She had a bee in her bonnet abou thte research.
So to look at : Janet Cardiff
Roland Barthes Mourning Diary and then Camera Lucida.