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Tutorials with your tutor G304 10.OO

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Tutorials with your Tutor G304 10.00

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Continue with your studio practice.

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Field Trip looking at painting 10.30-12.30
The National Gallery, meet by the ticket hall entrance
Trafalgar Square, London WC2N 5DN. Please bring dry drawing materials. With Kathleen.

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Rembrandt Harmenszoon van Rijn was born in Leiden in the Netherlands in 1606. His father was a miller, comfortably off and able to send Rembrandt to the town's Latin School. At the age of 14, Rembrandt began studying at the famous University of Leiden (unusual for a miller's son), but academic life did not suit him. After a few months he left to begin an apprenticeship as a painter.

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Rembrandt Harmenszoon van Rijn was born in Leiden in the Netherlands in 1606. His father was a miller, comfortably off and able to send Rembrandt to the town's Latin School. At the age of 14, Rembrandt began studying at the famous University of Leiden (unusual for a miller's son), but academic life did not suit him.

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Eight female artists from art history | National Gallery

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Eight great women artists from art history | National Gallery

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BA Fine Art Year One Introduction to the Print Room.

Monoprint Perspex. Room GG25 Ground Floor.

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Term Two Timetable

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10.00 in the Atrium. Remove all artwork.

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"Collaborative art expands and diversifies public engagement with the arts, enriching its contribution to society"

Text from Create National Agency for Collaborative Arts Ireland

Collaborative art practice involves artists and communities working closely together, often over extended periods of time, to make art. It harnesses the experiences and skills of each person taking part to give meaning and creative expression to what’s important in their lives. By facilitating wider participation, collaborative art expands and diversifies public engagement with the arts, enriching its contribution to society.

Artists who are interested in engaging with people to make exceptional art and often engage with communities in the broadest sense of the word. Artists can work with a community of interest such as people united by a hobby or interest or work like a hiking group, fishermen, or farmers. Or collaborations can happen in a community or place working with a neighbourhood association, local businesses or community development organisations among others.

Collaborative arts practice plays with and contests notions of authorship and the idea of the artist-genius working in isolation. Work that is made collaboratively with different groups often exists outside of the gallery or takes place outside the traditional theatre space. It can take place in a prison or hospital or university for example. It can also be interdisciplinary and involve a musician working with a visual artist or an architect with a dance artist or a theatre practitioner working with a filmmaker.

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The UK’s longest-running and most prestigious artists’ collective

The London Group was set up in 1913 by thirty-two artists including Walter Sickert, Jacob Epstein, Wyndham Lewis, David Bomberg, and Henri Gaudier Brzeska, with the aim of creating a powerful artist-run group to act as a counter-balance to institutions such as the Royal Academy. The founding group created a unique structure for an organisation, that has gone on to successfully nurture the careers of many of Britain’s best-known artists.

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The UK's longest-running and most prestigious artists' collective

The London Group was set up in 1913 by thirty two artists including Walter Sickert, Jacob Epstein, Wyndham Lewis, David Bomberg, and Henri Gaudier Brzeska, with the aim of creating a powerful artist-run group to act as a counter-balance to institutions such as the Royal Academy. The founding group created a unique structure for an organisation, that has gone on to successfully nurture the careers of many of Britain's best-known artists. You can read more about the history of the group here.

"A vital strand of artistic diversity and free-thinking in an art-world increasingly dominated by market forces and curatorial conformity."
Nicholas Usherwood, Features Editor, Galleries Magazine

The London Group Today

The London Group is a thriving democratic artists' collective practicing in all disciplines, from painting and sculpture to moving image, digital and performance, with a full annual events programme in London around the UK and abroad. The London Group currently holds many of its events at The Cello Factory, Waterloo, London.

The Group's written constitution requires it "to advance public awareness of contemporary visual art by holding exhibitions annually." The Group's focus today is on self-generated exhibitions curated and managed by its members. The London Group holds a prestigious biennial Open Exhibition where artists, at all stages of their careers, are invited to submit work to exhibit alongside the members. The Group holds regular social Salons where the members share their knowledge and skills with each other.

Working Committee

All the work of the Group is done through the Working Committee. There are many jobs from curating and hanging shows to social media and writing, to mopping up after Private Views. The current committee is here.

Membership

There are currently 98 members in the group. You can see every historical member here.

Existing members are eligible to nominate new members for election based on submission of their current work. The selection committee sits once a year. Criteria for membership is the quality of the artist's work and their commitment to the Group's activities. As a collective the Group finds its strength in its encouragement of diversity. If you are interested in joining the Group the best way to start is by submitting work to the Open exhibition and make contact with an existing member.

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The London Group was set up in 1913 by thirty two artists including Walter Sickert, Jacob Epstein, Wyndham Lewis, David Bomberg, and Henri Gaudier Brzeska, with the aim of creating a powerful artist-run group to act as a counter-balance to institutions such as the Royal Academy.

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Preparing your artwork for the Atrium Exhibition

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Preparing your artwork for the Atrium Exhibition

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Tutorials with your tutor G304 10.00.

Start thinking about a piece of work now, you might wish to exhibit,this might be a painting, a series of photographs, a 3D form, a film, sound work, and so on.

Film work shall be shown on monitor screens. This shall need preparation in advance so that the work is in the correct format, more information to follow on this.

All work needs to be delivered to the Atrium space by 9.30 on 7 March. We need to have the exhibits ready by 2.00 on

7 March. All students are to help install the show. This is to be a team effort.

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Cult art group BANK was active between 1991-2003

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Cult art group BANK was active between 1991-2003

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In retrospect, I still love the era's hedonism- bratty, self-conscious and ludicrously louche- but this was the obliterating mainstream; I knew nothing about the pranksters and radicals labouring beneath its deadweight. Simon Bedwell, John Russell, Milly Thompson, and sometime-members such as Andrew Williamson and Dave Burrows, were busy baiting the art & popular press as the BANK collective, aiming an anti-canonical water cannon at every establishment going: the swelling art market, sensationalist tabloids, inane pop culture, and dour political collectives. The BANK collective mercilessly taught the artworld a lesson by subverting its etiquette, combining beyond-shitty promotion, anti-curating, and bitchy art pranks like returning gallery press releases disfigured by pedantic corrections ('Fax-Backs').

Hoisted from its historical context and prettified in MOT International's white City gallery, BANK's work still manages to be shambolic, funny and annoying. Current show The Banquet Years features work from BANK's 1998/9 period, concentrating on the exhibition "STOP SHORT-CHANGING US. POPULAR CULTURE IS FOR IDIOTS. WE BELIEVE IN ART."For this exclusive interview I met up with Simon Bedwell and Milly Thompson, who selected work for the exhibition, and maintained the BANK archive for the past decade. I also got fellow troublemaker Dave Beech to stick his oar in; Beech exhibited in four BANK shows, gaining an outsider's view of the group's dynamics.
The mischief BANK got up to seems tame now, perhaps only because it made such liberty-taking obligatory. Radicalism always ends up as a new orthodoxy. Is BANK still potent as an archive?
Simon: Mischief is an infantilising, dismissive way of putting it, though I recognise that it may seem to be in the spirit of the forms of our mouthy verbiage. What we said through these various shouty, abrasive, comic etc forms - the manifesto, the tabloid paper, the differently-voiced mailouts etc - remains relevant, arguably: nothing's changed; artists are still shafted, the curating industry has just got more and more dominant and full of morons, and people still write crap for press releases.

Milly: BANK seems to still stand for radicalism - I'm surprised at the continuing level of interest (and delighted), the work we made still doesn't look like anything else I think, and maybe there's potency in something that has not been sort of plagiarised in one way or another.

Dave Beech: All mischief is context specific, so it's always tame out of context. That's nothing to do with BANK. Re-presenting or archiving mischief is still important, though. Now it is about knowledge, though, not impact.
A retrospective is never random- why now?
Simon: Random, no; but opportunities need to call. The first time was for a Paris indie space last October, called Treize, when Gallien Dejean there was interested in us; then there was space in the calendar at MOT. The time seemed right, and we'd had a dress rehearsal.

Milly: The show at MOT is not a retrospective. It's a commercial gallery show with things to sell. The vitrine contains all our press releases and invites etc., and it's there for context, so maybe it looks a bit retrospective I suppose. A retrospective, would have to be at a large museum with a lot of money to throw at it - with at least three entire BANK shows to make sense at all as a retrospective. I would like to do one in St Bart[holomew].
How did your involvement with BANK come about Dave? Was it product of an old-boy's network (only with Marxist polys instead of private schools)?
Dave Beech: I was invited by Dave Burrows to a meeting in a bar in the West End not long after the Wish You Were Here show in 1993 [actually '94]. I don't remember who else was there, but probably John and Simon and perhaps Bill and Milly, but I can't say for sure. They already had a year or two's shows planned and asked me if I wanted to be included in one of several they had titles for: Zombie Golf (I said yes straight away, just because of the title), The Charge of the Light Brigade (I wasn't as keen), Cocaine Orgasm (I ended up in this one but I thought the title was shit).

David Burrows told me they wanted me in a show because they liked my work but later Simon told me they'd invited me because my presence would bring along the Marxist contingent of the artworld. I only knew David at this stage, so there was no old boy's network. I knew David through John Roberts. David's membership of BANK didn't last into the next exhibition, though, so I was dealing with strangers really.
And how was the curating experience for you?
Dave Beech: The curating, by today's standards, was almost completely absent. They had a space and they worked in it. I went to see them once before making the work for the show. They had made some lifesize wax figure 'zombies' which they thought would take the shine off the work of the artists in the show - their 'setting', I was told, was meant to be antagonistic towards the art or the artists. I was writing my MA at the RCA on philistinism so I was sympathetic to this but not as sympathetic to their interpretation of zombies. I made little thought bubbles out of photos of movie posters with slogans such as 'Life is a terrible thing to sleep through'. I cut them out and hung them over the zombie's heads, giving them a kind of internal life that is conventionally impossible for them. My intention was to subvert BANK's subversion of me.
As BANK, did you see your work as being political in any way (aside from attacking the petty politics of galleries)?
Simon: BANK was a melancholy project, and a good part of that would be the acting as if we were political, or rather as if we believed we were, in full and doleful knowledge that it was impossible to be, with any real meaning - in art of course, but also, by analogy, in life. And since then as now, real politics doesn't seem to be able to talk about anything other than shaving taxes here or there, then maybe art is as likely to have a political effect as anything else - maybe. But anyone who took our rhetoric 'straight' we thought was a total idiot; very amusing for us when anyone fell for it though (note this doesn't mean we weren't political, either). Gilda Williams wrote that our work was 'political art in a form we're just not used to seeing.' I would add 'conceptual' to that, though that's another word nobody knows the meaning of.

Milly: If I ever thought about politics, it was and is a creeping anxiety about small mindedness, homogenisation, banality etc in everything!
Allegedly, BANK's token female (Milly) was only invited to attract funding/lefty respect [See 'BANK', Black Dog, 2000:12]. You also had titles like 'TURNER PRIZE BEAUTY PAGEANT' and 'BONKERS BIRDS'. What sort of gender politics were at play in BANK?
Simon: You're falling for our own press in this question. Milly was in BANK from '93 till the end in 2003, so was clearly pretty central to the operation.

Milly: It was a macho environment. It was carnival-ish. I did sewing and I knew how to use what was then 'Quark XPress' (Indesign now) and so I did a lot of the sort of 'layout' stuff, but my voice was not relegated to the secretarial pool and I never felt side-lined by the men because of being a woman.

Dave Beech: I don't know how much BANK 'cared' about female participation. They might just have seen this as a necessity given the political circumstances at the time. BANK was really quite laddish. When they invited me to 'curate' a section of Dog-U-Mental - Simon phoned and said he wanted me to throw a spanner in the works because the show that they'd planned seemed a bit boring - I asked them what they were doing and the bit that stood out was the section called 'Bonkers Birds' - a female-only mini exhibition as part of the whole show. In response I curated 'Shut Up You Stupid Cunt' (the title comes from a letter in Time Out from Kathy Burke to Helena Bonham Carter), which was a male-only exhibition in which the contributors were encouraged to bully the other contributors by taking up the majority of the space. I think you could say that the gender politics of BANK and the culture around them was complex but certainly a hot topic.
Artists get special dispensation to be deviant. Was there anything you weren't prepared to talk about/represent in your time with BANK, Dave?
Dave Beech: The only thing that bothered me about BANK was their apparent conservatism, not their deviance. I loved their deviance. I remember at the time feeling uncomfortable watching a performance by 'Wayne Winner' in the character of a sadistic boss getting his secretary to crawl about and do humiliating things. But I trusted Wayne so much as an artist that I watched the whole thing in the hope that I'd learn something about my own limitations.
BANK worked hard to be offensive & relished rubbing galleries and artists up the wrong way. Was there anything more to it than kicking against the pricks?
Simon: See Q1. BANK was simply following the tradition of the avant-garde in this, at exactly the time that everyone was busy trying to be marketwise (see Brit Art). We were always amazed at how people got annoyed (they did). The 2 main mags, Freize and Art Monthly, ignored all our best shows - not one review '95 till '98 - and I think this was a direct result of saying the unsayable.

Our targets were art targets, like institutional critique but in a very different form. We spent long hours debating these subtleties, believe it or not, to get the tone right between satire and critique, truth and offence. Except in the Fax-Backs, where we let rip a bit; they were never meant to be exhibited really, at first or by intent, we were just sending galleries back our comments.

Milly: We didn't work hard to be offensive. If we were offensive it's because we were just being offensive, or we were careless, or irresponsible maybe, and we did offend some people properly, which I regret. That was never the point - it was always the wider art-world rather than any individual that we were really interested in...I think BANK sensed the coming era (Frieze generation and your own 'art world as bigger BANK' below) and though we couldn't know the shape of it, the artworld jargon, the increasing 'professionalization' of it, the YBAs were starting to attract bigger prices than Helen Chadwick or Tony Cragg or Richard Wentworth ever did in the 1980's, the stupidity of 'Cool Britannia' - was hanging over everyone. There was a feeling that something was going to change, and I think we were making work about that without quite knowing it - and that's why BANK still seems relevant now.
The art world is an even bigger 'BANK' now. Is there any way to fight the power of the market? Is it still possible to make BANK-style protests, or has the game changed?
Simon: No, there is no real way to fight the power of the market; but the rhetoric of the fight can fuel artists, so long as it's fun for them, and makes the art good. But it carries many risks with it - and I think BANK were unique in riding the possible beauty of that risk (name me anyone else who risked looking like they meant it when they described the Freize editor as 'no oil painting' etc etc); rich or stupid people will never forgive you if you point out their privilege or stupidity to them; would you?

Milly: By falling in love with it.

Dave Beech: BANK never made protests. BANK changed very little if anything; whatever was possible then is still possible today. The issues have changed only insofar as the market has got bigger, stronger and more powerful. The point, however, is not to protest against the market but to build alternatives to it.
What current artists/collectives do you rate/hate?
Simon: The ones I hate most are those awful 'we're doing this on behalf of seriousness and History' ones, like Otiose Group (sic). This idea of a collective (which BANK Collective were not, we were an art group, a group of artists who collaborated, and who made exhibitions which were art in themselves, rather than arranging temporary meetings of artworks: and collaboration itself has a small-'p' political aspect in the way it transforms authorship) has been obnoxiously fetishized, purely for the apparent cachet of the automatic presumption of 'politics' it brings with it. I can't think of one that isn't just fake and pretentious; it's always just a pose.

Milly: Jeff Koons, Alex Katz, Martha Rosler
Finally, is the BANK Collective really over?
Simon: Yes; though me and Milly did a little anti-Cameron booklet for Declan Clarke's 'Fuck Book' project a few years back. This current show is not a 'Showaddywaddy Reform!!!' situation: John hasn't talked to me for 13 years, since he had to leave, for a start.

[Disclaimer: Due to necessity, all three interviews were conducted in isolation; hence statements should not be misread as responses to each others' answers.]

words Vienna Famous

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Bank Collective Exhibition - The Banquet Years

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There's a new gallery model taking the art world by storm. Pop-up galleries are rapidly becoming popular, and for good reason-they're in new spaces, they showcase unique ideas and works, and above all, they feel urgent and exciting. Galleries like have created whole programs around temporary gallery spaces (including a renovated Taco Bell, pictured below) and have seen favorable reactions from press, artists, and visitors alike.

Pop-ups allow galleries of all sizes to expand their programming, test out a new city or neighborhood, and explore non-traditional exhibitions. Pop-up galleries host temporary exhibitions that run for a day to a month or more, often held in a nontraditional space like a storefront or an artist's studio. An inexpensive and easy way to temporarily increase the gallery's footprint while avoiding the commitment of a long-term lease and staffing, this model offers flexibility, minimal overhead, and an additional revenue stream.

But before you drop everything and go hunting for a temporary gallery space, take the time to address potential road bumps. The pop-up model isn't an automatic success, and if you don't understand and plan for all the variables, the project may fail before you even open your doors. Below, we share some steps to follow before setting out to open a pop-up of your own.

Establish your goals

Want to reach a new audience or connect with your existing network in a unique way? Testing the waters for expansion into a new neighborhood or city? Perhaps you'd like to tap into the global art calendar and create a physical space in next month's art epicenter? Pop-up galleries serve myriad purposes and it's important to set clear expectations from the start to ensure that the investment is a success.

Your goals can also be specific to the artist(s) in question. Last May, we secured a pop-up space for an emerging artist who wanted to exhibit her work in close proximity to her art-world network. We focused on finding a well-trafficked Lower East Side location and ended up in a spot on Grand Street, allowing her to take advantage of the concentration of galleries in the area, including James Cohan, Lehmann Maupin, and bitforms. Other galleries like Pace have been known to use pop-ups to test new markets, such as their recent iteration in Menlo Park, CA.

The challenge

In 2015, Alan Cristea Gallery had been an Artsy partner for over two years. They offered a broad inventory of well-known artists at accessible price points, and they were receiving plenty of inquiries-but those inquiries were rarely converting to sales.

"There were many new online platforms competing for followers and a presence" recalled Alan, and he admitted that they "tried [Artsy] out like we tried many others out." Gallery staff spent hours responding to inquiries and saw few results. Even though Artsy was growing and the Alan Cristea team was fielding more and more emails, sales remained sporadic.

Despite this, the gallery recognized that online sales were bound to change the nature of the art industry. They made it a top priority to keep up to date with changing technology and to identify new tools that could aid them in achieving their goals. Cristea told us that he knew selling art online would be a "gradual process of trial and error," but the lack of sales persisted.

Pick the right location and time

Select an area that will appeal to your target audience, such as established art collectors or a younger community-driven art scene. Consider opening near other cultural landmarks that will draw people, and keep in mind that second-floor spaces are typically more affordable but get less foot-traffic. A pop-up in an unexpected location may get lost in a competitive city like New York, or it could become a destination-know your program and clients. Timing is also important; opening during an auction week or an art fair may draw a larger audience.

A successful example of the right place and right time approach came from London-based Ordovas Art, who opened a New York pop-up of Eduardo Chillida's work in October of 2015. It was perfectly timed with the beginning of the fall auction season in New York, situated at a highly coveted Madison Avenue location-the ground-floor space was conveniently positioned between the Upper East Side galleries and Christie's Rockefeller Center location to draw top collectors. Ordovas followed the success of their first pop-up in New York with another in the fall of 2016, a curated group exhibition entitled "Artists and Lovers" on the Upper East Side, as well as opening an office in Tribeca earlier in 2016. By using pop-ups, the gallery is able to maintain a nimble yet significant presence in New York during key times of the art world calendar, without committing to the costs of a permanent exhibition space.

Think outside the "white box"

A white-walled exhibition space is always a great starting point, but consider non-traditional spaces as well. Ask people in your network if they have access to free or affordable locations that they may be looking to expose or market in a new way. One client of ours leveraged his relationship with an event space to host a one-night-only exhibition on a Monday, when the space is rarely used. In doing so, he was able to negotiate an affordable rate.

Another mutually beneficial example was when we connected the artist Adam Payne with the Lilac Preservation Project, which maintains the Lilac, a historic steamboat docked in Tribeca. The Lilac Preservation Project has been integrating arts programming into the boat's summer season as a way to connect with new visitors and wanted to find artists whose work related to the unique space. Adam's exhibition "Full Steam Ahead" highlighted a body of work that had maritime influences and provided him with a unique environment for his work, while introducing a new group of art-world visitors to the Lilac.

Pro tip: Real estate developers may be interested in "activating" an empty storefront in the hopes of exposing it to new clients. Hit the pavement in the neighborhood you are interested in and look for empty storefronts. We've had success calling the broker listed and starting a conversation; a room filled with art and people is much more attractive than a vacant property.

Create a budget

Although less expensive than a long-term space, don't forget all of the details required to launch a new gallery. Create a budget and prepare in advance to ensure the best chances to make a profit and achieve your goals. Keep in mind costs like rent, security deposit, internet, installation and deinstallation, utilities (upgrades in heat and air conditioning may be required if the current setup is not adequate for art), staffing, insurance, furniture for the space, cleaning, signage, temporary smoke and alarm systems, and any prep work necessary to get the space ready.

Your biggest cost is almost always the space itself. Companies like New-York based Parasol Projects offer spaces with weekly rates of $2,500-$6,000 and provide a suite of additional services to assist in planning, such as staffing, operational needs, and promotion. Similarly, for a full-service company outside of New York, Storefront could be an option for a longer term pop-up (as their minimum time commitment is one month) and we've even found art-friendly spaces on Airbnb. However, make sure to calculate the cost-benefits; full-service options like Parasol or Storefront can make things easier, but from our experience, you can find comparable spaces for a smaller investment if you have the time to do the research and get creative in your outreach.

Negotiate

Ask questions about what is included in the space and negotiate your lease or handshake agreement. Consider everything you need to know including: access to the space, utilities, restrictions on painting the walls and hanging things from the walls, load restrictions, how many people can you host, in what state you need to deliver the space at the end of the lease, and if the owner will have access to the space while you are occupying the property. Even for short-term or free-of-charge spaces, get something in writing and consider having a real-estate lawyer review anything before you sign.

Check your insurance and permits

Your policy may have security or liability requirements that you need to meet in order to get insurance coverage at your temporary location. Check with your insurance broker as you may need to arrange a walkthrough before signing the short-term lease. For New York-based projects, check if your space has a Certificate of Occupancy-many locations downtown do not have a CofO (as it is known), which can cause legal and insurance issues.

Pro tip: Ask the landlord or broker if a CofO exists, but also always double check yourself.

Focus on what you do best

Consider hiring someone to manage the day-to-day operations of the pop-up so you can focus on selling art and building artist relationships, instead of waiting for the internet to be installed. Finding someone who has executed a pop-up before will make the process and execution smoother, will likely save you money, and can help keep the project on schedule. Having the time internally to complete one or two sales may cover the cost of an additional team member to manage the project.

Pop-ups can serve a variety of goals for galleries of all sizes in the increasingly competitive art market. It's important to keep in mind the financial and time commitments you're making, as well as any potential pitfalls that might cause issues down the road. Make a clear plan and have a realistic budget so that once you take the plunge you can focus on the art.
Arisohn + Murphy was co-founded by Jessica Arisohn and Rysia Murphy in 2015 with a vision to deliver exceptional strategy and project management for art-focused projects. Drawing upon more than 16 years of combined experience at Gagosian Gallery overseeing exhibitions, art fairs, public sculpture installations, pop-ups, and expansion projects, Arisohn + Murphy offers their unique expertise to organizations inside and outside the art world.

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Everything You Need to Know about Pop-Up Galleries - Artsy

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There's a new gallery model taking the art world by storm. Pop-up galleries are rapidly becoming popular, and for good reason-they're in new spaces, they showcase unique ideas and works, and above all, they feel urgent and exciting.

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Review photographs produced 10.00-12.00 with Anne in G304 Afternoon Photoshop workshop.

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I use cookies on my website to give you the most relevant experience by remembering your preferences and repeat visits. By clicking "Accept All", you consent to the use of ALL the cookies. However, you may visit "Cookie Settings" to provide a controlled consent.

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We Are Here: a showcase of black female photography

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We Are Here: a showcase of black female photography

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We Are Here, an exhibition of the work of new and established black female photographers in the UK, seeks to challenge their lack of representation in the sector.

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We Are Here, an exhibition of the work of new and established black female photographers in the UK, seeks to challenge their lack of representation in the sector. Sponsored by Nikon, it takes place at Blank Canvas, in Walsall, from 25 to 27 September

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We Are Here: a showcase of black female photography

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We Are Here, an exhibition of the work of new and established black female photographers in the UK, seeks to challenge their lack of representation in the sector. Sponsored by Nikon, it takes place at Blank Canvas, in Walsall, from 25 to 27 September

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Discussion with group 10.00-5.00 with Anne and Nic

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Short films focusing on choreography for the camera

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Flexer & Sandiland | Standing at the forefront of British dance and digital art, choreographer Yael Flexer and installation artist Nic Sandiland create works for stage, gallery and public spaces.

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Short films focusing on choreography for the camera

The Theory of Gravity (1998)

Originally part of the performance Big Satellite Days (1998), The Theory of Gravity was re-edited into a film in its own right. Using the backdrop of a featureless landscape, the film explored how, by placing of the human ...

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Short films focusing on choreography for the camera Originally part of the performance Big Satellite Days (1998), The Theory of Gravity was re-edited into a film in its own right. Using the backdrop of a featureless landscape, the film explored how, by placing of the human ...

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Performance

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Film and Performance discussion 10.00-12.00 with Anne G304

Afternoon Editing looking at rhythms, stories and affect - using Adobe Premiere Pro with Anne.

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Film and Performance

A new film work The Hurrier about working class women’s bodies, labour and sexuality was completed in 2021 and has been shown as a five screen installation with sound at Five Years Gallery and APT, with associated events and support from the Feminist Library and In Process podcast series.

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A new film work The Hurrier about working class women's bodies, labour and sexuality was completed in 2021 and has been shown as a five screen installation with sound at Five Years Gallery and APT, with associated events and support from the Feminist Library and podcast series.

Please visit News page on this site for exhibition documentation and hurrier.org for full details, images and video links.
JANUARY AND FEBRUARY 2020 NEW SCREENING DATES FOR WAKEFUL! 23rd January
Wakeful is screening Whitechapel Gallery on the evening of Thursday January 23rd 2020 at 7.00pm along with two works by wonderful filmmaker Mairéad McLean: A Line Was Drawn (2019, 14min), exploring how our world is structured through the creation of borders and boundaries limiting movement, thinking, questioning and agency; and No More (2013, 16 mins) considering the introduction of internment without trial in Northern Ireland in 1971, which won the inaugural MAC International Art Prizeand Anne will be in conversation with poet and critic Cherry Smyth.
More details at: https://www.whitechapelgallery.org/events/anne-robinson-wakeful/
lease note this is a ticketed event - booking details on link above. This screening is part of f Not Just Me but You Too: Cinemas of Sisterhood, April 2019 - April 2020, a year-long season of films, entirely by women and gender non-binary filmmakers.
7th February
Wakeful also has a screening event at CCA Glasgow on the evening of Friday 7th February.

More news to follow and details at:
http://www.cca-glasgow.com/programme/anne-robinson-wakeful
This event is free, but booking advised.

Film project Wakeful is completed! Screenings commencing from October 2018. More information, dates ands details here.

The screenings of Wakeful include an event on 'armistice' day, 2018 , the centrnary of the 'end of war' with live score at Cafe Oto by percussionist Limpe Fuchs.

As I wrote the last sections of voice over for the film, the UK decides to send hundreds of troops back in to the 'stalemate' of Afghanistan to 'match' the 4000 sent by America. There are wars in Iraq, Palestine, Syria. Myanmar, Darfur, Yemen, Ukraine, Kashmir and some fifty other countries with more than 11,000 estimated deaths through conflict within the past year.

According to the campaign against the arms trade: this '..trade is dominated by the five permanent members of the UN Security Council: China, France, Russia, UK and the US, along with Germany and, increasingly, Israel. The permanent members alone account for around three quarters of exported arms.'

Thrashing in the Static is a 'song - film' made on the Thames foreshore in response to long-distance, telegraphic communication, and disorienteering and concerning the story of Alf, my half-brother, a young sailor, who was 'lost at sea' and remains stranded on a small island iin 1942. Can the technical operations of a 'sorcerer's cinema' and the uncanny nature of painting and erasure derange our senses and create magical, relations to space-time, allowing us to traverse time-zones and cross the bounds of one temporally imprisoned human life? Filming, editing and song by Anne Robinson and featuring performance by Rachel Gomme. (2014, running time: 19mins. sound).

Thrashing in the Static is showing along with the painting series Skinny White Sailor in phase two of 'Ghost on the Wire' at Singapore's exciting and innovative art and film space: in August. More news to follow

And has also been shown at:

Orkney and Hong Kong, 2015

, Bermondsey Project Space

for Deptford X 2014 and Folkstone Triennial Fringe, Old Truckers' Lounge
Time You Need
Congratulations to artist Sarah Sparkes! winner of the 'Meru Art-Science Award for her film Time You Need. Very pleased to have worked on this as editor and on post-production effects! Showing at: GAMeC (Gallery d'Arte Moderna e Contemporanea) as part of the 13th Bergamo Science Festival.

The Result of This Deception, 2013
The Result Of This Deception is a song-film, a lost voice paradoxically offering comfort and a light to light your way in the dark winter's night... concerned with time travel, with 'remembered songs' as a kind of psychic architecture and with the voice as spirit presence. It uses a deconstruction of the song Whenever I Feel Afraid on the soundtrack and has been adapted to form a site specific piece for Lumen in the old St Clements psychiatric hospital and former Victorian workhouse - playing in the strange, empty space of the records cupboard below stairs. In this piece, moments in time are expanded or contracted through sonic and cinematic devices, creating a kind of expanded, other-worldly temporality. (20min on loop with sound)

Inside Out Blues, 2013
The Inside Out Blues makes a sound thread for a film. The voice is on the inside coming out. Surrealist Antonin Artaud's last work To Have Done With the Judgement of God, written for radio in France in 1947, worked with the extremes of unsettling 'mad' noises, shouts, cries and glossolalia. Artaud particularly wanted workers, people working with their hands and bodies, perhaps those most imprisoned in the body, to hear his work. Scheduled to air early in 1948, it was pulled from the broadcasting schedule at the last minute, intentional hegemonic repression, still visible in the gross gentrifying of Marseilles as 'capital of capital'. On the edge of fortress Europe, the voice can cross borders in frenzied dance that soars over the razor wires of the rich and dives /'divers' under the sea. 'chantier: acces interdit' become 'à chanter pour la liberté'... across the laws and borders made to keep people out, to let the outside-in... 'Acces Interdit', you are being filmed.. Inside Out Blues was made as part of a residency with Counterproductions and DeCenter Der Space in Marseilles, 2013 and first screened at CGP, London in October 2013. (20mins with sound) video link

Is It You? 2012
'Is it You?' is a two-screen video piece made by Anne Robinson as part of a body of work about temporality and affect, experimenting with the use of high speed filming and long exposures to capture the This piece is a kind of 'ghost dance' working with rhythmic patterns made in response to the spectral traces of remembered songs, including Toots and the Maytalls track same moments of time passing. Pressure Drop, re-presenting them out of time in dissociated rhythms. Seeing is 'strange'. First shown as part of PhD Exhibition at CASS, 2012. (17mins. with sound) video link

Que Sera, 2010
is deconstructed using Que Sera is a two-screen photo/video installation work, first shown Correspondence: a Facility supported group exhibition at Libeskind Graduate Centre, June 2010. The song, a perfect, recognisable form, varied cinematic devices, frame-rate and exposures to catch the same moments in time passing and juxtapose these for the perceiver. Passing moments expand or contract, catching the spectator in perceptually unsettling circuits of rhythm. Que Sera emerged, in part, from a persistent memory of a particular song: a kind of haptic and visual sense memory, something in the periphery of my receptive field which was there along with my immersion in thinking about temporality in art . The song Que Sera (Evans/Livingston 1956), is best known in its interpretation by Doris Day in the 1950s and one of my earliest memories is of my mother singing this to me. First shown as part of PhD Exhibition at CASS, 2012. (18min. with sound) video link

So Long, 2013
So Long is a singing performance devised for the show Performance and Documentation, curated by Stephanie Dickinson in 2013. The work combines a performance in the space, holding notes for the maximum possible duration with high speed filmed documentation and experimental drawn documentation. First shown at East Street Arts Showspace, London, 2013. video link

Alive Alive-O, 2012
In Alive Alive-O, a remembered song reinhabits the strange and magical shape of an empty ruined boat, as an invocation. The film was shot in inside the hull of an 1895 lugger being restored in Penzance where my dad, also born in 1895, grew up. I have memories of him singing this song, Molly Malone, the haunted presence in the boat space. The soundtrack was made in collaboration with musician David Cross, formerly of King Crimson. (10 miins. B/W, with sound) video link

Roaring Girl, 2012
Roaring Girl was made for a project in 2012, working with the Comm(o)nist Gallery at East Street Arts in Leeds. The film is intended as part of a performance which features the song 'Buddy Can You Spare A Dime?' being sung live along with the projection - an invocation of past souls defeated by capital, making a psychic architecture out of a 'remembered song'... First screened/preformed at The Common-all Games atEast Street Arts, 2012. Also performed on board MS Stubniz for Exploding Cinema in 2013. (12mins. with sound and live performance) video link

Song of the Skiver, 2011
The Song of the Skiver was made for an exhibition with the Comm(o)nist Gallery at The Toilet Gallery in Kingston in 2011. It was devised as an installattion, set up with a cctv camera positioned above a toilet cubicle door, pointing down into the cubicle to record any activity inside and relay it to the screen on the outside of the door. People are invited to come inside and skive in whatever way they feel moved to. From time to time the film is showing and the soundtrack runs continuously. Inspired, in part by the moment in 1936 Charlie Chaplin film Modern Times where Charlie 'skives' off to the toilet for a fly cigarette only to be ordered back to work by his boss materialising on a film screen, this is a song for artists seeking to resist the commodification machine of the art world and to make work in real freedom and for all workers who don't want to wind up with physical, mental or spiritual convulsing limbs fit only for the conveyor belt. (gallery version 12mins, short film version 1min. with sound) video link

Mountain, 2011
Made for CGTV, this is a one-minute film about land, property and wealth... (1min. with sound) video link

Riders, 2014
All at once a mighty herd they saw, slipping and sliding across the screen and in and out of consciousness.. riding on forever through time and space... Made for the 2014 Chinese Open in Soho, in the 'year of the horse'. (15 mins. on loop, with sound)

Dance a Cleaner Dream, 2014
Made for a Feminism and Subjectivity Research event at University of the Arts, Chelsea, in response to Gertrude Stein's Tender Buttons, this work picks up on a description of a film never made and imagines 'a meeting of two artistic mysteries' - a found footage where Stein might just be portrayed by Margaret Rutherford. (5mins. with sound)

Spin Round, 2011-13
A manually selected live jukebox featuring feminist favourites with an element of chance... This performance was originally devised as part of Rachael House's Feminist Disco at Camberwell School of Art in 2011. The image here shows another incarnation of the work at Supernormal Festival in 2013 with Rachael's 'To be Normal..' banner in the background and a version has also been performed as part of Grave Passions curated by NIcky Hodge in 2012.

Protest Your Love, 2011-12
A manual selection juke box: 'to operate, select a song from the hat and write the title on the blackboard...' A performance in which which fragments of protest songs, ingrained in heart and memory are performed live to an individual listener. Originally devised for Manual, with the Frisk collective and performed at The Others, London in 2011. Other venues have included Brixton Market, Camberwell Green and The University of Leeds during PSI in 2012.
(see 'archive' link for selected earlier works)

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A new film work The Hurrier about working class women's bodies, labour and sexuality was completed in 2021 and has been shown as a five screen installation with sound at Five Years Gallery and APT, with associated events and support from the Feminist Library and In Process podcast series.

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PERFORMANCE ART

Artworks that are created through actions performed by the artist or other participants, which may be live or recorded, spontaneous or scripted.

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While the terms 'performance' and 'performance art' only became widely used in the 1970s, the history of performance in the visual arts is often traced back to futurist productions and dada cabarets of the 1910s.

Throughout the twentieth century performance was often seen as a non-traditional way of making art. Live-ness, physical movement and impermanence offered artists alternatives to the static permanence of painting and sculpture.

In the post-war period performance became aligned with conceptual art, because of its often immaterial nature.

Now an accepted part of the visual art world, the term has since been used to also describe film, video, photographic and installation-based artworks through which the actions of artists, performers or the audience are conveyed.

More recently, performance has been understood as a way of engaging directly with social reality, the specifics of space and the politics of identity. In 2016, theorist Jonah Westerman remarked 'performance is not (and never was) a medium, not something that an artwork can be but rather a set of questions and concerns about how art relates to people and the wider social world'.

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Tate glossary definition for performance art: Art for which the artist uses their own body as the medium and performs an action or series of actions which become the artwork

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The term live art refers to performances or events undertaken or staged by an artist or a group of artists as a work of art, usually innovative and exploratory in nature

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The term is mainly used to refer to performance art, action art and their precursor happenings, together with later developments of performance since the 1960s.

In 1999 the publicly funded Live Art Development Agency was founded in London, UK, to promote and co-ordinate activity in this field.

Live art may also refer to art using living animals or plants. A major practitioner of this has been the arte povera artist Jannis Kounellis.

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Tate glossary definition for live art: Performance undertaken by an artist or a group of artists as a work of art, usually innovative and exploratory in nature

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Create collages, montages | Photoshop, Photoshop Elements

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Learn to Create collages, montages | Photoshop, Photoshop Elements

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Storytelling 10.00-1200 with Anne and Keith in G304

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Keith Piper 'a future museum of the present'

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Keith Piper 'a future museum of the present'

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Richard Billingham In this interview from 2007, Photoworks Editor Gordon MacDonald talks to Billingham about his early career and his moves back to the snapshot aesthetic of his first, and most successful project, Ray’s a Laugh.

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Richard Billingham In this interview from 2007, Photoworks Editor Gordon MacDonald talks to Billingham about his early career and his moves back to the snapshot aesthetic of his first, and most successful project, Ray’s a Laugh.

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In this interview from 2007, Photoworks Editor Gordon MacDonald talks to Billingham about his early career and his moves back to the snapshot aesthetic of his first, and most successful project, Ray's a Laugh.

Richard Billingham's story is an oddity in the history of British art. Having been 'discovered' as a painting student at Sunderland University, he rapidly went on to become one of the only household names in British photography and to become recognized, nationally and internationally, as an important artist. In 1997 he won the Citibank prize and in 2001 he was shortlisted for the Turner prize.
GM. Gordon MacDonald
RB. Richard Billingham
GM I wonder what first drew you towards art?

RB I learned to read quite late, maybe 7 or 8 years old. Not because I was thick but because my parents didn't bother pushing me. When I did learn I wanted to read everything and a big world opened up to me. I would read art books in the local library. I probably read most of them - there weren't many there but I got to know who Picasso was. Constable was the artist who influenced me the most. He was a naturalist and his empirical approach to landscape painting has interested me all this time. Since I was 11 I have been interested in nature. I lived in a tower block and nature, to me, was escapism. I wanted to paint landscapes but it was, like, impossible at the time.

GM How did your parents feel about you taking up art?

RB They were indifferent to it. They probably liked it because, if I was drawing, I was occupied and didn't need looking after.

GM How did the photographs start?

RB There was just me and my dad living in the flat in a tower block. My mum had left and lived in a neighboring tower block due to his incessant drinking. I saw this scene every day - he would be in his bedroom, lying on the bed or sitting on the edge of the bed, looking in the mirror, drinking. I thought that I would like to make some paintings about this tragic situation and the way he appeared to me in the bedroom. Whenever I made a painting I would make it quickly - each painting at the time took about 15-20 minutes. I did try to teach myself to take longer over a painting but the trouble was that my dad wouldn't sit still for long enough - he'd want a drink or he would go to the toilet. Later I managed to get a 35mm Zenith camera. I thought I could use the photographs as source material for the paintings. He was held still by the photographs and I could paint from them taking more time.

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GM How did they continue from there to taking the rest of your family - your mother, your brother and the pets?

RB The first time I went back to the flat after I had left to go to University up north I found my dad wasn't living there any more. The flat was empty and he was living in the new flat with my mum in the other nearby tower block. The way the flat was decorated was different from that of the flat that I grew up in. It was more opulent and there were more cats and dogs and small animals in cages everywhere - it was raucous.

GM So, while you were studying painting at Sunderland, Julian Germaine and [Michael Collins] the then editor of the Sunday Telegraph magazine saw some of the photographs.

RB Yes. When they took interest in them I didn't think they were as special as they later became. I thought they were just interested in them through curiosity. The Telegraph editor came to my student digs in Sunderland and said 'I want to see more of these photographs', so I gave him a carrier bag full and he went off with them.

GM He was Picture Editor at the Telegraph Magazine at the time. Didn't you see that as a bit odd?

RB I didn't know that this could end in them being shown in galleries. I didn't know you could show photographs in galleries at that time.

GM Did you start to appreciate them as solely photographs when Julian Germain and [Collins] the Telegraph editor started taking an interest.

RB No, the intention was still to paint from them. I was also interested in taking some of them just for the sake of taking them, as I did enjoy doing it and enjoyed seeing what they looked like when they came out.

GM. Would you consider them as accidental art then?

RB Maybe - in the sense that I did them for reasons other than being hung in galleries. But that happens a lot.

GM I just want to know how this change happened for you. You had the intention of becoming a painter and you were seemingly shoehorned into this photography role. Usually people make that decision before they start making work in the new medium.

RB I had this opportunity to publish about 50 of them in a book, I wasn't sure about doing it because I didn't want to be classed as a photographer - I didn't want to be pigeonholed. I wanted to be an artist. I talked to a friend from Sunderland, and he said 'you might as well do the book. Francis Bacon was a furniture designer before he became an artist... if you do the book of photographs, well, photography is closer to painting than furniture design'. So that swung it. But I was reluctant at first.

GM I suppose part of that reluctance was that these were very personal?

RB That never bothered me really. Why should it?

GM I would think twice about displaying my family.

RB Maybe you had closer ties with them? I don't owe them anything and I never thought they would be shown in a gallery at that stage anyway. I thought they would be in a book and it would have a specialist market and not really a wide audience.

GM So the attention came as a bit of a shock.

RB Yes it did.

GM When was the edit for Ray's a Laugh made?

RB Well, not straight away. It wasn't until 1996 that we made the edit.
On a few occasions before then I looked through the Telegraph editor's collection of photobooks, so I did become aware of contemporary photography from 1994 onwards. The later pictures for the book (1994-95) were being taken with this added awareness.

GM So some of the later images were being made with the knowledge that they were going to be used as photographs.

RB No, but they were taken having seen other photographers work.

GM Were they still being taken as basis for paintings?

RB Not necessarily. I'd never looked at photography books before 1994. I saw Larry Clark's book, Tulsa, and I was amazed at the potential of photography. I could see that my photography could do more than I thought and it gave me confidence to continue.

GM To take these photographs as photographs, rather than as raw material for something else?

RB Yes, that's one way of putting it. Before looking at contemporary photography I was getting my compositional ideas from painting but after I'd looked at the work of other photographers I think I was also getting inspiration and visual ideas from them - whether consciously or unconsciously.

GM. After you started being influenced by the work of other photographers, did you identify yourself as a potential photographer?

RB Yes I think so from 1994 onwards - maybe a little bit later.

GM So how many pictures in Ray's a Laugh are taken from that perspective?

RB About half.

GM Can you see a difference and, if so, which approach do you think is more successful?

RB There is a very obvious difference to me. I prefer the more innocent ones I did before I'd seen the photo books even though they're probably harder work for the viewer. However, in the later works I still didn't want a polished aesthetic (I still had a snobbish attitude to photography). I thought that the technical mistakes I'd made could initiate better ideas for paintings and I wanted to continue that. Many of those 'accidents' where allowed to happen: they look like accidents but most of them aren't.

GM So you were deliberately creating a snapshot aesthetic?

RB I was messing up on purpose but with the aim to try and make a better or more original image.

GM Why did you hang on to that snapshot aesthetic?

RB I wasn't worried about the accidents then, or how they were read, because I thought they might make better paintings and I still wanted to be a painter.

GM But with the later one you made the decision to use them as photographs from the outset.

RB Its not like I am never going to make paintings out of them. I still might.

GM When the pictures had been spotted as interesting, they were brought together to become Ray's a Laugh, which, to me, reads as a narrative about your dad's addiction to alcohol.

RB My dad's the main character in it, but it's not all about his addiction or him being drunk. How many photographs are there where he is drinking? Lets look at the book. You see he's not drinking there...

GM But he is drunk.

RB How do you know he's drunk?

GM He's got a nosebleed and he can't stand up.

RB That's one, two...

GM He is drunk in that one.

RB Yes but there's no beer.

GM He's certainly been drinking

RB There is a bottle there - shall I say four for that?

GM But the ones of him drinking are so powerful, and the book is called Ray's a Laugh.

RB Five, six - he's not drinking there - seven.
It's like if you look at Wolfgang Tillmans' work. Some might say a lot of it is all about penises. But if you count the number of penises in photographs in a show or book of his you would probably only actually see two or three depicted.

GM Are you saying that Ray's addiction was not what your pictures were about when you were taking them?

RB I did want to make images of the tragedy of the situation. I wanted them to be emotionally very moving. I don't think I concentrated on the drinking but on the effects of it. I didn't want to illustrate alcoholism or make a documentary about it.

GM I wonder how it got pared down to that edit? Did you and the editors sit down together?

RB I probably picked out 70- 100 of my favorites and they did a final edit of 50 or so images.

GM Did you agree with the edit?

RB At that time yes. There are a few I wouldn't include if I re-did it now. The TV dinner, for example, looks like the sort of image that any hack-photographer could have come into the flat and taken. A picture like that has the threat of undermining the rest. But there are only a few I would take out or swap for others.

GM This book put your life and your family into the public realm.

RB Well, I hadn't lived with them since 1991.

GM It's still your life though - you were there when the photographs were taken.

RB They're my parents and my brother. It's not like I was photographing the inside of my own flat.

GM No, you were photographing theirs.

RB So it's their lives rather than mine.

GM After Ray's a Laugh, you came to a point where you had to make another piece of work and to move your career along.

RB Yes, in 1997 I made a series of urban landscapes that ended up being published in a book called Black Country (2004). I still wanted to make snapshots but I wanted a different subject - I wanted the images to be as good as the previous ones but minus the sensational subject matter of Ray's a Laugh.

GM Why did you want that?

RB Just to see if I could make photographs without any sensational subject matter. I needed a really mundane subject, so I chose to photograph the area I was born and grew up in. I wanted to take photographs of the space. I didn't want any image to be a portrait, a picture of the sky or a car or a building, because then it would be about the subject matter. I wanted to concentrate on the spaces only.

GM This project then moves from the snapshot style of your earlier work into medium format with more polished images. What made you change your working method?

RB I wanted to let go. I didn't want to make innocent snapshot photographs for the rest of my life. I wanted to learn to make a photograph I had to think about first.

GM So why not revert to painting?

RB I was too lazy to make paintings by then and still am. I am no longer prepared to spend weeks at a time on a single painting when I can make a picture in a fraction of a second. I thought it would take less time to learn how to make this other type of photography. Also, there are so many different types of photograph you can take in the world why limit oneself to making one type? Some photographers seem to stick with one type but I get bored doing that.

GM So you were training yourself technically?

RB Not technically. I was forcing myself to preconceive my photographs so they would not be snapshots.

GM Was this a part of you losing your naivety about photography?

RB Yes, naivety or innocence. I thought why not just lose it altogether instead of holding on to it in the hope it will allow me to continue to take spontaneous photographs.I have always been interested in landscape, so I started photographing landscapes using this new method.

GM Do you think, looking at The Black Country publication, that the second half of the book is as successful as the first section of snapshots?

RB I think the later ones are more sumptuous, but if you take the colour away there's not much there. If you take the colour away from the snapshots the structure and the balance is still there. So I tend to think that the snapshots are probably better pictures spatially.

GM Regarding your most recent project Zoo, you have made three very distinct set of images - a series of video pieces, some medium format studies and a series of snapshots based on your mothers pictures of zoo animals. Why have you returned to the snapshot style and the family for this work?

RB It's a bit of a story. My mother died recently and I had the responsibility of clearing out the empty flat. One of the few things I kept was the family albums. A moving thing about them was the way she had included snapshots of zoo animals amongst family portraits. Her zoo snaps are very childlike. They are mostly taken on 110 and 126 film which makes them blurry. They have been taken very innocently, as if she was unaware of the absurdity of the captive animals predicament. I suppose the intention was to record happy days out.

GM But why reflect on your mum's album?

RB I had been making these really considered, medium format photographs in zoos and I thought it would be a good antidote to that. I decided that I wanted to make a group of animal pictures inspired by them. It is another way of seeing zoo animals and its how a lot of the public must see them.

GM Did the project need an antidote?

RB The project needed more variety and this was another approach to representing captive animals. I always stood where a spectator would and never went behind the scenes because I wanted to do it through the spectators eyes. Ther is a bit of the spectator and a bit of my aesthetic in them.

GM This work seems to hark back to the family work a bit - not just technically but also conceptually. The idea of someone trapped in a situation - like the gorilla or Ray.

RB It goes back to, I guess, when I was trying to paint Ray as a figure in an interior.

GM But also the idea of someone or something trapped in a situation?

RB I wanted them to have the look of something being contained. I wasn't thinking of any relationship between the zoo and family work, but it is there. With the zoo snaps I'm imitating the look and feel of my mother's photographs. She's taken hers innocently and compositionally mine are better, but they have the same look. I deliberately used disposal cameras and cheap cameras in Ray's a Laugh and I did the same with the Zoo snaps.

GM Most recently you have started making photographs including your own partner and child - using the cheap cameras and look of Ray's a Laugh or the snapshot photographs from the Zoo series.

RB Yes, I think the baby was born at the same time I decided to take the Zoo snapshots. When the baby was born I took pictures of him for my own family album so we would have a record of him growing up- just as most people would do. When I got my piles of pictures back from the Zoo trips there'd be baby pictures mixed in and I'd separate them out. I saw that some of the baby ones had the same aesthetic of the zoo snaps probably because that was what I was working on at the time. It wasn't a plan to start photographing the baby but when I saw that they were working pictorially I decided to continue with them in earnest.

GM There are also pictures in the series of your son with your father, Ray, and brother, Jason, taken in that snapshot way, which seem to draw this new project and Ray's a Laugh together.

RB I took the baby to see Ray recently in the nursing home because he might die soon - he is very old. I wanted to be able to show Walter in the future that I took him to see Ray before he died. Walter would have something of him and his grand dad to look at even though he won't remember meeting Ray. The pictures of Ray, Jason and Walter do draw the two bodies of work together or even helps to make them one project.

GM There is something of a theme of making the personal public running through Ray's a Laugh, Zoo and this latest work.

RB That's never bothered me. I guess a lot of people wouldn't want to do that but if you're an artist you have to take risks. When I was a primary school kid I didn't want any of the other kids to see where we lived because we were poor and the place was not cared for. We didn't have any heating or hot water, the carpets were dirty, there was dog shit everywhere and there was no paper on the walls. I don't know when the turning point was but at some point - perhaps when I first started to photograph Ray in his room- I decided never to think about hiding my background or upbringing anymore. It was easier, less stressful, not to bother about it. Why should I hide my poor background anyway?

GM I wonder if the snapshot aesthetic is something you are going to keep on using? It has become a signature style.

RB I've been thinking about signature styles. As I said before there are so many different types photographs you can take. A signature style is usually good for marketing the work as everyone can immediately recognize it. I don't intend to stick to one style or way of taking pictures although it would make financial sense.
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Published in Photoworks Annual Issue 8, 2007
Commissioned by Photoworks

Buy Photoworks issue 8

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In this interview from 2007 Gordon MacDonald talks to Richard Billingham about his early career and most successful project, 'Ray's a Laugh'.

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Collaborative Painting / Socially Engaged Practice

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Collaborative Painting / Socially Engaged Practice

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Working as a team to make a large painting. 10.00-12.00 with Kathleen G304

Socially engaged practice, also referred to as social practice or socially engaged art, can include any artform which involves people and communities in debate, collaboration or social interaction. This can often be organised as the result of an outreach or education program, but many independent artists also use it within their work. The term new genre public art, coined by Suzanne Lacy, is also a form of socially engaged practice.

The participatory element of socially engaged practice, is key, with the artworks created often holding equal or less importance to the collaborative act of creating them. As Tom Finkelpearl outlines in his book What We Made: Conversations on Art and Social Cooperation, social practice is ‘art that’s socially engaged, where the social interaction is at some level the art.’

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Socially engaged practice describes art that is collaborative, often participatory and involves people as the medium or material of the work

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Socially engaged practice describes art that is collaborative, often participatory and involves people as the medium or material of the work

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Tate glossary definition for socially engaged practice: Term used to describe socially engaged art that is collaborative, often participatory and involves people as the medium or material of the work

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Kathleen Mullaniff 'Textile and Memory' Collaborative Project

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Kathleen Mullaniff 'Textile and Memory' Collaborative Project

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East Ayrshire has a rich history of textile production. At Darvel, Newmilns, and Galston, the Victorian industrialist Alexander Morton mechanized the hand-weaving industry and introduced the ideas of William Morris. Here textile designs were produced including some designers of the Arts and Crafts Movement. In Newmilns and Darvel high-quality lace is still produced using Victorian machines. Calico printing and shawl making has become an almost forgotten industry, and the closely related shawl manufacture was at one time a major industry in Kilmarnock. East Ayrshire is the location for two partner museums Dean Castle and the Dick Institute. Both hold rich displays of the historical textile archive. The exhibition 'Textile and Memory' is a collaboration between two researchers from Middlesex University, Kathleen Mullaniff and Emma Dick, the Dean Castle Textile Team, and East Ayrshire Leisure. This exhibition is located in the Loom Room at the Dick Institute, Kilmarnock, Scotland. The exhibition celebrates the work made by the Dean Castle Textile Team, a group of volunteers who help to conserve the historic textiles in the museum's collections and contribute their wide-ranging textile skills and experience to creating new textile works for cultural heritage and community engagement. Kathleen Mullaniff, Emma Dick, and Pauline Mullaniff display digital embroidery, drawings, and an artist book as artwork responding to the wonderful textiles that the Textiles Team produces. We are in awe of their skills and dedication to the community and keeping textile heritage alive and we dedicate the exhibition to them all. Emma Dickand Kathleen Mullaniff Middlesex University London February 2019

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Kathleen Mullaniff Fine Artist | Kathleenmullaniff | Textile and Memory

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East Ayrshire has a rich history of textile production. At Darvel, Newmilns, and Galston, the Victorian industrialist Alexander Morton mechanized the hand-weaving industry and introduced the ideas of William Morris. Here textile designs were produced including some designers of the Arts and Crafts Movement. In Newmilns and Darvel high-quality lace is still produced using Victorian machines.

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TUTORIALS in G304 with your Tutors
10.00

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Subject Independent Learning Preparing for independent study Term Two

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Subject Independent Learning Preparing for independent study Term Two

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One broad definition of independent learning or autonomy in learning is: "The ability to take charge of one's learning." Holec (1981:3)

Being able to make informed choices and taking responsibility for your own learning activities are two facets of learning independently. Two other important elements, vital for the success of learning independently, are motivation and feeling confident enough to take decisions and act on them. You also need to appreciate the value of reflecting on your learning and deciding whether it has been effective or whether you need to try another approach.

At school, what you learn is largely decided by your teachers, who are in turn constrained by curricula. However, even at school, you may have been aware of having weaknesses in some areas and decided to devote extra time and energy to making improvements. On the other hand, there may have been certain subjects which were your strengths and which you particularly enjoyed. As a result, you may have chosen to do "extra" work in these subjects. You were learning independently, deciding what to do, how to do it, and whether it was worthwhile.

Can you remember an occasion when you chose to do "extra" when at school, at work, or in life? It may not have been an academic activity but in the realm of sport or music, for example. What motivated you and what was the outcome of your independent work?

Does independent learning mean working on your own?
No, independent learning does not mean working on your own. You may well find that you share a problem with another student on your course or even in another discipline. Working with someone else, encouraging each other, and talking through difficulties may be the most effective way of working independently. If you have a problem, explaining it to someone else can help to clarify issues for you. Explaining a concept to someone without shared background knowledge is a very good way of making sure you understand the full implications of the concept.

How can independent learning help you?
Being able to work independently is a skill highly valued by employers so it may ultimately help you in securing a job. In the short term, it may help you to feel more "in control" of what you are doing. Some elements of independent learning are: setting your own goals and deadlines; organizing yourself, your work, and your time; evaluating your use of time and your work. These can have immediate benefits in enabling you to become more efficient and effective.
Weaknesses in any of the skills given in the activity below will mean that you are not working as effectively as you might. Devoting some time to improving study skills will be helpful. It may be better for you to work on these skills with someone else, rather than on your own.

From the skills listed below, decide whether there are any you need to improve.
Organizing yourself and your time
Note-taking
Gathering and using information
Reading
Listening
Writing
Speaking
Remembering
Working with others

The areas where you need or want to work independently may, on the other hand, relate directly to your particular subject(s) of study. Here, any independent work will increase your confidence and may help you, both immediately and when it comes to exams or other assessments.

Have you, for example, considered reading around a topic before a lecture is given on it? This type of independent preparation can help you to gain much more from the lecture itself because you are in tune with the subject matter and can think more critically about what is being presented.

How to set about learning independently
Analyze your strengths, weakness, and special interests
For example, if you are studying a language, is your weak area broadly grammar, vocabulary, writing, speaking, listening, or reading? If you decide that grammar is the problem area you'll then need to break this down further to decide what aspects cause problems - for example past tenses of verbs or word order in a sentence.

Work out your priorities
Once you've decided what your specific problems/interests are, you can draw up a list:

Which needs to be addressed urgently?
Is there a natural, logical order in which to tackle them?
Whatever your subject, don't be afraid to return to the basics if necessary. It may give you more confidence, in the long run, to ensure you have a firm understanding of basic concepts and techniques.

Reference: University of Hull. Study Skills.

https://canvas.hull.ac.uk/courses/30746/pages/what-is-meant-by-independent-learning

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OVERVIEW
The core classes for this module run weekly on Thursdays from 10 am-12 noon with studio work and sometimes workshops for each stage continuing on Thursdays and Tuesday afternoons most weeks. Some workshops shall take place on Fridays for 3D Workshops and Ceramics. We will usually be based in Studio G304 at Grove Building unless notified otherwise for workshops or field trips. The module is closely connected to FNA1103 and many projects run across both modules. Tuesday sessions are led by several tutors depending on the focus or media for that week these are on Tuesdays from 10 am-12 noon for a seminar. You should research your themes and ideas for the second term of your course. Work independently and in groups. In March we shall present your work in a 'POP UP' Exhibition in the Atrium of the Grove Building.

Week Thirteen: 12 January:
TUTORIALS in G304 with your Tutors

Week Fourteen: 17 January:
PRINT/PAINT
With Kathleen visit to the National Gallery,

London, looking at Painting.

Week Fifteen: 26 January:
PRINT/PAINT continued with Kathleen.

Collaborative Painting.

Week Sixteen: 2 February
DIGITAL PHOTOGRAPHY
With Anne and Keith. Narrative

Week Seventeen: 9th February:
DIGITAL PHOTOGRAPHY

Anne and Keith

Week Eighteen: 14 February:
FILM AND PERFORMANCE
Anne and Nic

Week Nineteen: 23 February:
FILM AND PERFORMANCE
Anne and Nic

Week Twenty: 2 March:
TUTORIALS in G304 with your Tutors

Week Twenty-One: 9 March:
Remove all work from the ATRIUM Exhibition

Week Twenty-Two: 16 March:

GROUP TUTORIALS STUDIO

with Luke

Week Twenty-Three: 23 March:
TUTORIALS in G304 with your Tutors

Week Twenty-Four: 30 March:
GROUP TUTORIALS STUDIO

with Luke

SPRING VACATION 3 APRIL -15 APRIL 18 APRIL

SET UP EXHIBITION IN G304

19-20 APRIL ASSESSMENT

PRIVATE VIEW 20 APRIL 4-6PM
22 APRIL CLEAR STUDIO G304

FOR SECOND YEAR STUDENTS

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NOV16BA FINE ART YEAR ONE END OF TERM REVIEW

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Print BA Fine Art Year One Introduction to the Print Room

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Fine Art 'Subject Themes' 10.00-12.00 G304 with Dr Luke White

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Fine Art 'Subject Themes' 10.00-12.00 G304 with Dr Luke White

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Thursday 1 December in G304

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Thursday 22 November 'Looking at Painting'

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Thursday 22 November 'Looking at Painting'

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Field Trip looking at painting 10.30-12.30
The National Gallery, meet by the ticket hall entrance
Trafalgar Square, London WC2N 5DN. Please bring dry drawing materials. With Kathleen and Luke.

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Please note there are 3 dates for this

Tuesday 22 November Group A 2.00 start
Monday 28 November Group B 2.00 start
Tuesday 29 November Group C 2.00 start

For all of these sessions please bring a drawing or idea to work
from. Arrive at the print workshop at 1.45

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Frederic Morris was born in 1985. Following a First Class Honours Degree in Illustration from Middlesex University in 2007, he went on to study at the Royal College of Art, where he received an MA (Hons) in Fine Art Printmaking in 2009.

Awards and appointments include

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Frederic Morris was born in 1985. Following a First Class Honours Degree in Illustration from Middlesex University in 2007, he went on to study at the Royal College of Art, where he received an MA (Hons) in Fine Art Printmaking in 2009.

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Fine Art 'Subject Themes' 10.00-12.00 G304 with Dr Luke White

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Fine Art 'Subject Themes' 10.00-12.00 G304 with Dr Luke White

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Thursday 27 October in G304.

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Meet at Canary Wharf Underground Station 10.30 Museum of London Docklands, No.1 Warehouse, West India Quay, London E14 4AL

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Meet at Canary Wharf Underground Station 10.30 Museum of London Docklands, No.1 Warehouse, West India Quay, London E14 4AL

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In order to gather source material, we are going to have a trip out to take photographs at the Museum of London in Docklands Thursday 20 October.

Digital Photography Feild Trip Meet at Canary Wharf Underground Station 10.30

Address

Museum of London Docklands, No.1 Warehouse, West India Quay, London E14 4AL

https://www.museumoflondon.org.uk/museum-london-docklands

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Your Tutorials for this term shall take place on Week 3 Week 7 Week 8

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DRAFT BA FINE ART YEAR ONE TUTOR ALLOCATION

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29 Sept

10. 30-12.30

Meet at Camden Town Tube. Northern Line.

Drawing on Regents Canal.

Please bring

your sketchbook/notebook pencils and so on, also a hat and umbrella.

With Kathleen Mullaniff Anne Robinson

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Transport for London | Every Journey Matters

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Live arrivals for Camden Town Underground Station stop.

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The core classes for this module run weekly on Thursdays 10am-12noon with studio work and sometimes workshops for each stage continuing on Thursdays and Tuesday afternoons most weeks. Workshops shall take place on Fridays for 3D Workshops, Ceramics and Moving Image. We will usually be based in Studio G304 at Grove Building unless notifies otherwise for workshops or field trips. The module is closely connected to FNA1103 and many projects run across. Tuesday sessions are led by a number of tutors depending on the focus or media, etc for that week.
(this padlet is a 'live' space so keep checking in!)

Week One: 29th September:

DRAWING, TALKING AND WALKING
Following up on your working themes while drawing.

Week Two: 6th October:
RECYCLE/MATERIAL/SOUND
Working together in the studio to reuse, remake

and reform diverse materials and make a noise!

Week Three: 13th October:
TUTORIALS WITH YOUR TUTOR

Week Four: 20th October:
FIELD TRIP DIGITAL PHOTOGRAPHY

Week Five: 27th October:
PHOTOSHOP DIGITAL PHOTOGRAPHY

Week Six: 3rd November:
REFLECTIONS WEEK: CRITS AND TUTORIALS

Week Seven: 10th November:
ARTISTS' MOVING IMAGE

Week Eight: 15th November:
TUTORIALS WITH YOUR TUTOR

Week Nine: 22nd November:
PRINT/PAINT in studio

Week Ten: 29th November:
PAINT/PRINT/DIGITAL IMAGES

FROM YOUR PRINTMAKING

Week Eleven: 6th December:
Mid-year Reviews/Formative Assessment

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PLEASE DO ASK QUESTIONS, EMAIL YOUR STAFF TEAM IF YOU NEED CLARIFICATION ON ANY ASPECT OF YOUR MODULE. WE ARE HERE TO ADVISE AND GUIDE YOU THROGH YOUR FIRST YEAR.

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2022-23 FNA1203 Introduction to Media, Sites and Situations

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The Regent's Canal offers an oasis of calm in the capital. It was once London's best kept secret, but now we're spreading the word with walkers, boaters, commuters and everyone looking to escape the busy city streets.

Visiting the Regent's Canal is like stepping into a hidden world. From the colourful collection of narrowboats at Little Venice it runs on through Regent's Park, where it is overlooked by London Zoo's vast aviary. In Camden Town, it passes the craft stalls and quirky clothing shops of the famous market, a centre for London's alternative culture.

Our dedicated teams ensure that walking along the canal is sure to re-charge your batteries. Step off the pavement, onto the towpath and feel the difference.

Wellbeing on the Regent's Canal

The history

In 1812, the Regent's Canal Company was formed to cut a new canal from the Grand Junction Canal's Paddington Arm to Limehouse, where a dock was planned at the junction with the Thames. The architect John Nash played a part in its construction, using his idea of 'barges moving through an urban landscape'.

Completed in 1820, it was built too close to the start of the railway age to be financially successful and at one stage the Regent's only narrowly escaped being turned into a railway. But the canal went on to become a vital part in southern England's transport system.

Success for the Regent's Canal

Together with the Grand Junction Canal and the associated routes to the Midlands and north, the Regent's Canal carried huge quantities of timber, coal, building materials and foodstuffs into and out of London. In fact long-distance traffic continued to use the canal into the 1960s.

However, by the time the canal was nationalised in 1948, commercial traffic had started to dwindle.

Threat to the Regent's Canal

Like all canals, the Regent's lost commercial traffic to the railways and by the 1960s lorries were taking much of the rest. The Regent's Canal Dock, at the junction with the Thames, closed to shipping in 1969 and this was the final nail in the coffin for this once bustling waterway. Unused and unloved, its future looked bleak.

Carrying electricity on the canal

Canals are wonderfully versatile, and in 1979 the British Waterways Board allowed underground electricity cables to be laid in a trough below the towpath between St John's Wood and City Road. Pumped canal water is used to cool these high voltage cables, which now form part of the National Grid.

The Regent's Canal today

We're pleased and proud that this most interesting canal is alive today, to play a part in the lives of so many Londoners and visitors to the capital. Its towpaths form alternative routes to work for walkers and cyclists, its peaceful scenery grants a breath of fresh air to all. Boaters gain a whole new perspective on some of London's most well-known sights as they travel along its waters.

After the buzz of Camden there are quieter reaches, but the canal is still at the heart of a vibrant cultural scene. As it continues towards the East End, it passes close by many small independent art galleries and studios, displaying exciting and cutting-edge work.

The Regent's Canal finally joins the River Thames at Limehouse Basin, always busy with boats of all kinds.

Boating

The Regent's Canal is a highly attractive waterway in itself, offering you the chance to see a side of London missed by others.

It's also a useful through-route to the rivers Lee and Stort, and for the more adventurous boater, forms part of the London Ring which incorporates a trip along the Thames tideway. Access onto the River Thames is via Limehouse Lock or Bow Locks, and from the Grand Union Canal via Thames Lock at Brentford. Remember that the Thames has fickle currents and tide runs so check tide and lock times first.

Walking and cycling

Our towpaths connect many of the capital's famous green spaces with central routes from Regent's Park to Victoria Park and even right across London from the Lee Valley Regional Park in the east to the Colne Valley Regional Park in the west.

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The Regent's Canal offers an oasis of calm in the capital. It was once London's best kept secret, but now we're spreading the word with walkers, boaters, commuters and everyone looking to escape the busy city streets. Visiting the Regent's Canal is like stepping into a hidden world.

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End of Term Review FormativeAssessment  Dates 6-8-13-15 Dec 2022 in G304

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End of Term Review FormativeAssessment  Dates 6-8-13-15 Dec 2022 in G304

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FORMATIVE ASSESSMENT:
Three Elements
PRESENTATION
PORTFOLIO
FINE ART WORK

End of Term Review
will consist of three elements:  a verbal presentation for 5 minutes, a portfolio and your Fine Art Practice for FNA1103
This is the total of the Formative Assessment. It is basically talking about your development with your tutor and another member of the team. The process takes 30 minutes.

PLEASE NOTE: You will be notified by email with the exact time of your presentation slot. A formative assessment is designed to give you detailed feedback on your performance and to explain how your work can be improved clearly. The feedback should help you clarify things you did not understand and suggest ways forward. Two members of the academic staff will review your work.

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End of Term Review Formative Assessment  Dates 6-8-13-15 Dec 2022 in G304 

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End of Term Review Formative Assessment  Dates 6-8-13-15 Dec 2022 in G304 

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FORMATIVE ASSESSMENT:
Three Elements
PRESENTATION
PORTFOLIO
FINE ART WORK

End of Term Review
will consist of three elements:  a verbal presentation for 5 Minutes, a portfolio and your Fine Art Practice for FNA1103
This is the total of the Formative Assessment. It is basically talking about your development with your tutor and another member of the team. The process takes 30 minutes.

PLEASE NOTE: You will be notified by email with the exact time of your presentation slot. A formative assessment is designed to give you detailed feedback on your performance and to explain how your work can be improved clearly. The feedback should help you clarify things you did not understand and suggest ways forward. Two members of the academic staff will review your work.

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Thursday 1 December Photoshop Workshop 1.00-3.00

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Thursday 1 December Photoshop Workshop 1.00-3.00

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1pm-3pm

Meet Anne Robinson Printmaking/Photoshop/Introduction in Digital Media Workshop 4 on the first floor of the Grove Building Room G123B. Please bring with your images/drawings/prints to work from.

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'Terribly Wrong', Tracey Emin, 1997 | Tate

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Artwork page for 'Terribly Wrong', Tracey Emin, 1997 Emin places herself centre-stage in her work, telling intimate stories about her life. 'It's like a cleansing of my soul. It's not just getting rid of baggage or carnage. It's not that simple. Something actually happens within me.'

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Bob and Roberta Smith is the pseudonym of the artist Patrick Brill. Born in London, he studied at the University of Reading from (1981-1985) and Goldsmiths College (1991).

He trained as a sign painter in New York and uses text as an art form, creating colourful slogans on banners and placards that challenge elitism and advocate the importance of creativity in politics and education.

His best known works are Make Art Not War (1997) and Letter to Michael Gove (2011), a letter to the UK Secretary of State for Education reprimanding him for the "destruction of Britain's ability to draw, design and sing".

His curatorial projects include Art U Need: An Outdoor Revolution, which transformed public spaces in the Thames Gateway (2005-2006), and Peace Camp at The Brick Lane Gallery (2006), an exploration of artists' perceptions of peace. A regular speaker at conferences and symposia, he initiated the Arts' Party Conference 2013, a forum for artists and organisations to debate the role of art and design in schools.

As well as hosting a radio show called Make Your Own Damn Music on Resonance FM, Bob and Roberta Smith is a writer and musician, often performing with the Ken Brasley Playboy band. In 2009, he was appointed as a Tate Trustee and he is currently Associate Professor at the Sir John Cass Faculty of Art, Architecture and Design at London Metropolitan University.

Profile
Royal Academician
Born: 1963 in London, England, United Kingdom

Nationality: British

Elected RA: 11 December 2013

Gender: Male

Preferred media: Painting

Works by Bob and Roberta Smith in the RA Collection

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Bob and Roberta Smith RA - Selected CV

Selected Solo Exhibitions

2013 Plymouth Arts Centre, Plymouth, UK
The Butler Gallery as part of the Kilkenny Arts Festival, Ireland, UK
2012 Hales Gallery, London, UK
2011 Pierogi Gallery, New York, USA
2010 Hales Gallery, London, UK
2009 Galerie Kusseneers, Antwerp, Belgium
Cesane Manzo Gallery, Rome
2008 Tate Britian, London UK
Hales Gallery, London, UK
Royal Academy of Arts, London, UK
2007 Galerie Kusseneers, Antwerp, Belgium
Peer Gallery, London, UK

Selected Group Exhibitions

2013 The National College of Arts, Pakistan. British Council touring exhibition
2012 Somerset House, London, UK
Institute of Contemporary Art (ICA), London, UK
Red Star Gallery, Beijing China. British Council touring exhibition.
2011-2012 National Gallery, Tirana, Albania, British Council touring exhibition
2011** Olympic Poster Commission LOCOG
Galerie Munsterland, Munsterland Festival, Germany, Emsdetten, British Council touring exhibition
2010 Tate Britain, London UK
Hayward Gallery façade, London, UK
Minsheng Art Gallery, Shanghai, China
2009 Whitechapel Art Gallery, London, UK, British Council touring exhibition

Art Sales at the RA

Art Party

Bob and Roberta Smith RA composites images from his polemical film Art Party, to brilliantly satirise Conservative Education Secretary Michael Gove's policies on art education.

The print is deliberately 'low tech' and gritty in appearance, and incorporates pictures of contemporary artists including Cornelia Parker RA, Jeremy Deller, and Richard Wentworth. Bob and Roberta Smith's iconic text painting Letter to Michael Gove was shown in the Academy's 2014 Summer Exhibition.

The print is available to buy through Art Sales at the RA.

Shop our exclusive Bob and Roberta Smith range

Designed in collaboration with leading British artist Bob and Roberta Smith RA - and featuring his iconic and inspirational slogan designs - this colourful collection of must-have art materials includes apron, sketch pad, pencil case and brush roll.

Whether a budding beginner or seasoned professional, this range is perfect for any and all artists.

Shop now

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Bob and Roberta Smith | Artist | Royal Academy of Arts

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Bob and Roberta Smith is the pseudonym of the artist Patrick Brill. Born in London, he studied at the University of Reading from (1981-1985) and Goldsmiths College (1991). He trained as a sign painter in New York and uses text as an art form, creating colourful slogans on banners and placards that challenge elitism and advocate the importance of creativity in politics and education.

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'Found' words: Printed packaging, labels and layers

Ever since the cubists first collaged real newspapers and bottle labels into their still-life paintings in around 1912, artists have been making use of 'found' printed letters and words to add visual interest or texture to their work.

Kurt Schwitters added bus tickets, sweet wrappers, stamps and other scraps of throwaway printed papers to create delicate detail in his beautiful textured collages. Pop artists made use of the high-impact visual qualities of advertising and slick product packaging. Eduardo Paolozzi used these 'found' printed papers directly in his collages, while Andy Warhol lifted product brand names and advertising slogans for his prints.

In the spirit of pop art artist Michel Majerus features logos and mass produced products in paintings such as Fries 2001. But he adopts this imagery to celebrate youthful subcultures that use images of consumerism as badges of identity, rather than subverting consumer culture, as the pop artists did.

Like the pop artists, Mimmo Rotella also used advertising posters to comment on the post-war consumer boom - but rather than embracing their slick in-your-face graphics, the words become almost intelligible in his fragmented compositions. Inspired by the rich distressed textures of layered posters he saw around him on hoardings in Rome he began to rip these down and use them directly - often rearranging the pieces and stripping away further layers. Gwyther Irwin similarly made use of advertising posters, scavenged from London's East End, for Letter Rain 1959. Individual words and letters are clearly legible in the upper half of the work. Further down, the deluge of letters subsides into a haze of pale fragments through which faint traces of letters are just visible.

Words and shapes

Concrete poetry arranges words and letters in a visual way; the work is as much about its layout as about the meaning of the words. For his Poster Poem (Le Circus) 1964, Ian Hamilton Finlay uses a mix of coloured fonts and quirky arrangement of text to suggest the fun and dynamic activity of a circus. Ajar 1967 is a concrete poem constructed of one word, repeated in a bent list which illustrates the meaning of the word through its shape. The poem is like a sculpture made of words.

The shapes of the layered brightly coloured letters used in Michael Craig-Martin's text pieces also have a sculptural aspect. The artist sees himself a constructor - a 'putter-togetherer' of things: 'I think of my paintings as flat sculptures'. He creates his images digitally, scanning and assembling them on a computer. In his Seven Deadly Sins print series, the overlapping brightly coloured letters mingle with a mesh of simple outline drawings of ordinary objects.

Robyn Denny's Manman 1957 uses the word 'man' - scrawled several times across the page graffiti-style - instead of a depiction of a person. The work was created in response to his art college teacher suggesting that he make figurative work. To Denny the word 'man' was the simplest way of creating a figure painting! By painting words in a gestural, eye-catching way his aim was to 'lure the eye [of the viewer] out of the everyday world and into the world of the painting'.

Words that tell stories

Letters and words aren't only used pictorially art - for the shape, texture and detail they can add to an artwork. Artists also use words linguistically - in a way that we might associate more with literature - to create narratives.

Fiona Banner's 'wordscapes', are large text works that recount the plots of feature films and other events. Break Point 1998 is a large painting comprising sixty-six rows of red text written horizontally on a white background, which collectively describe a car chase from the film Point Break (dir. Kathryn Bigelow, 1991). Banner explores the limits of verbal communication in her work: rather than watching an exciting fast-paced action scene viewers have to read the narrative in a deliberate and painstaking manner. As Banner commented: 'when it's translated into words ... [the scene] becomes this kind of shaggy-dog story ... the opposite of keen imperative momentum'.

Tom Phillips also used a 'found' narrative as the starting point for many of his prints. He worked directly onto the pages of printed books, isolating phrases or parts of words and then combining these with paint and collage elements to form a new verbal and visual narrative.

Ian Breakwell and Sophie Calle use text, often alongside photography, to tell narratives about the observed lives of others. Tracey Moffat also uses text alongside photographs for her Scarred for Life series. Her works which mimic photo spreads from the American magazine Life, draw on memories from her childhood. The terse captions hint at traumatic stories behind the images. Moffatt has commented: 'A person can make a passing comment to you when you are young and this can change you forever. You can be "scarred for life"'.

In works by artists David Hockney, Grayson Perry and Tracey Emin words mingle in with images. Scrawled in an expressive style they reveal personal thoughts, feelings and diary-like narratives.

Words and ideas

Conceptual artists often use text to explore ideas. With conceptual art what the art object looks like is less important than the ideas surrounding it, so conceptual artists use the best way of putting across their idea - which often involves using words to describe it!

Artist Ewa Partum combines performance art with poetry. Since the early 1970s she has been creating poems by scattering cut-out letters in a variety of landscapes and locations, using their random distribution to create poetry.

Artists Ed Ruscha and Bruce Nauman use words in their art to explore language and how it is used. The words in Nauman's VIOLINS SILENCE VIOLENCE 1981-2 illuminate in a cycle. The triangular arrangement of the words and the way in which they overlap prevents a conventional left-to-right reading, while their sequential illumination makes us aware of the words' shapes as well as their meanings. Violin suggests a musical sound but this is squelched by violence and obliterated by the following silence. In this way the merging of these words creates a sort of visual sound poem that coveys extremes of music and silence, creativity and violence.

Ed Ruscha often combines familiar phrases with unlikely and apparently unrelated images. These make us question what we are looking at and what we are being told. For Pay Nothing Until April 2003, he has used a mountain landscape and an advertising slogan painted in a clean modern font. Ruscha lives in Los Angeles and the city and its film industry is important in his work. The mountains he uses in his works have the spectacular and slightly unreal look of a film backdrop. By mixing awe-inspiring natural imagery with banal, consumerist text without any clear style, Ruscha's painting reflects the city in which he lives, a place he once referred to as 'the ultimate cardboard cut-out town'.

A call to action: posters, flyers and signs

The Guerrilla Girls are an anonymous group of feminist artists. They use words and figures to highlight sexism and racism in the art world. They fly-post posters and send letters to art institutions to raise awareness of this discrimination. They use facts, humour and simple language to put across their call to action in the most immediate way.

Conceptual artist Jenny Holzer also uses posters and signs to put across her message. She has also been known to use billboards, T-shirts, hats, stickers and park-benches in her art, too! Her first public works, Truisms 1977-9 were anonymous flyers pasted on buildings, walls and fences in and around New York. Commercially printed in bold italics, one-line statements such as 'Abuse of power comes as no surprise' were aimed at provoking public debate. These works explore socio-political issues. Holzer uses language and the mechanics of late twentieth century communications as an assault on established ideas about where and why art is shown and who it's for.

Bob and Roberta Smith's text paintings have the air of revolutionary statements, riffing on life, politics and art. His texts, (Bob and Roberta Smith is an alias...his real name is Patrick Brill), are often painted onto scraps of discarded wood using ordinary household paint. The works often feature a generous amount of subversive humour. Smith has stated that his simple DIY approach - which anyone can do - and use of recycled materials, encourages 'the idea that the world can be organised differently. People can construct their own realities and worlds rather than living in MTV or BBC world'.

We've pulled together some ideas to help you get started using letters and words in art.

Artists (such as Michel Majerus and pop artists) often used the words they saw around them in popular culture as the inspiration for their work. Collect brand names, slogans or 'found' printed words and texts (such as flyers, fast-food leaflets etc.). Use these - or bits of these to reflect popular and consumer culture today. You could use these in an abstract way, ripped up to create visual texture or directly to put across your message or to make point.

Concrete poetry and neon texts play with the shape and look of words as well as their meaning. Try arranging words in ways that reflect their meaning. Think about font, colour, and scale of the words. Or try layering words to create rich layers of shape and meaning.

Do you have powerful personal memories that are important to you today? Are there thoughts and feelings that you want to get out there? Could these be a starting point for an artwork? Add snippets of narrative to add power, emphasis, and meaning to visual images

Try working directly with 'found' texts. Cut them up and rearrange them to make new meanings, or draw and paint directly onto pages of written or typed narrative text.

Caption or present text alongside photographs, sketches or videos to make people think about what they are seeing in a different way.

Are there any issues you feel strongly about? Think about ways you can use art and words to raise awareness and change peoples' minds. Think about the way products are marketed and borrow some of these techniques to market your message. Get inspiration from posters, flyers and signs.

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Letters and Words Coursework Guide | Tate

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'Found' words: Printed packaging, labels and layers Ever since the cubists first collaged real newspapers and bottle labels into their still-life paintings in around 1912, artists have been making use of 'found' printed letters and words to add visual interest or texture to their work.

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http://michaelporterart.com/films/rocks-and-coast

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Film: Rocks and Coast - Michael Porter, painter and artist

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PUSH Print: 30+ Artists Explore the Boundaries of Printmaking

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PUSH Print: 30+ Artists Explore the Boundaries of Printmaking

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Skip to main content

PUSH Print is a visual feast that will inspire anyone interested in art, intriguing personalities and innovative ideas. Survey the work of 30+ contemporary printmakers - from world-renowned names to exciting up-and-comers - each with their own take on letterpress, screenprinting, woodcutting, lithography and etching, as well as multimedia and digital approaches to print. Featuring a vibrant Q&A section with the Cranky Pressman jurors, plus sumptuous full-colour images of the artists' work, this gorgeous volume is a fascinating survey on printmaking today.
"synopsis" may belong to another edition of this title.

Review:

"This is a wonderful book to explore the strength and diversity of print work. --Crafty Modern"These [PUSH] books are full of truly inspiring, beautiful and interesting artists and works, pushing the boundaries and exploring ideas and concepts and their chosen medium to the full. These artists are incredibly skilled, have gigantic imaginations and work with unexpected materials and subject matter." --Whip Up"

About the Author:

Chicago-area artist Jamie Berger makes up one half of Cranky Pressman (crankypressman.com) along with his brother, Keith Berger, who mans their popular letterpress shop in Salem, OH. Together they produce custom letterpress printing for graphic designers, illustrators, art directors and creative professionals. Their work has appeared in publications including Little Book of Letterpress (Chronicle 2010) and they were the featured cover artists of the May 2011 issue of How magazine.
"About this title" may belong to another edition of this title.

Top Search Results from the AbeBooks Marketplace

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PUSH Print: 30+ Artists Explore the Boundaries of Printmaking (Push (Lark))

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Skip to main content PUSH Print is a visual feast that will inspire anyone interested in art, intriguing personalities and innovative ideas. Survey the work of 30+ contemporary printmakers - from world-renowned names to exciting up-and-comers - each with their own take on letterpress, screenprinting, woodcutting, lithography and etching, as well as multimedia and digital approaches to print.

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This instructional video was filmed pre-Covid. Please follow all current health and safety rules. One of the oldest forms of printmaking, relief printing has been used...

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Introduction into the Print-room (GG25) - Middlesex

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 End of Term Review In G304 10.30AM Onwards

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 End of Term Review In G304 10.30AM Onwards

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FORMATIVE ASSESSMENT: PRESENTATION  VISUAL WORK

PLEASE NOTE: You will be notified by email with the exact time of your presentation slot. A formative assessment is designed to give you detailed feedback on your performance and to explain how your work can be improved clearly. The feedback should help you clarify things you did not understand and suggest ways forward. Two members of the academic staff will review your work.

Your End of Term Review will consist of three elements:  a verbal presentation/portfolio and your Fine Art Practice for FNA1103
This is the total of the Formative Assessment. It is basically talking about your development with your tutor and another member of the team. The process takes 30 minutes.

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ASSESSMENTS:

Your Module FNA1203 shall have a Formative and Summative assessment with FNA1103.

Formative Assessment and Feedback take the form of the ‘end of term review’ via the presentation of your portfolio and supporting materials discussion with your tutor and a second member of the year one teaching team

Dates  End of Term Review 6-8-13-15 Dec 2022

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Tutorials in your studio with your tutor

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Film Moving Image
Friday 18 November
Group sharing crit/presenting your film 10.00 G304

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Thursday 10 November Fine Art 'Subject Themes' 

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Thursday 10 November Fine Art 'Subject Themes' 

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Fine Art 'Subject Themes'
10.00-12.00 G304 with Dr Luke White

FNA1203 Film and Performance with Nic Sandiland
Dear student please note your Film Session is on:
Friday 11 Nov 10.00 and 2.00 in G304

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https://www.youtube.com/watch?v=nreAZ9F_2l0

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Adobe Premiere Rush Features | Adobe Creative Cloud

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Reflection Week Meet with your tutor times to be arranged

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Reflection Week Meet with your tutor times to be arranged

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Studio Reflection is a time to look back on what you have achieved so far in your practical Fine Art work.

You shall also have a tutorial with your tutor during Reflection in the studio, your tutor shall be in contact with you.

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What Makes an Artist? Grayson Perry in Conversation with Sarah Thornton | Tate Talks

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What Makes an Artist? Grayson Perry in Conversation with Sarah Thornton | Tate Talks

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What Makes an Artist? Grayson Perry in Conversation with Sarah Thornton | Tate Talks

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Digital Photography DIGITAL MEDIA WORKSHOPS MEET AT 1.00-3.00

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Digital Photography DIGITAL MEDIA WORKSHOPS MEET AT 1.00-3.00

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PHOTOSHOP WORKSHOP  DIGITAL MEDIA WORKSHOPS
FULL GROUP MEET IN THE GROVE ATRIUM WITH ANNE ROBINSON AT 1.00-3.00

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Creative Cloud is a set of applications and services which feature a collection of software titles that help bring all your creative ideas to life.  A few popular titles include:

InDesign – design and publish layouts for print and digital

Photoshop – edit and create images, graphics and art

Illustrator – create vector art and illustrations

Premiere-Pro – the Industry standard for video and film editing

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Creative Cloud is a set of applications and services which feature a collection of software titles that help bring all your creative ideas to life. A few popular titles include:

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MAKING IN-STUDIO RECYCLE  MATERIAL SOUND Meet G304 10.00

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MAKING IN-STUDIO RECYCLE  MATERIAL SOUND Meet G304 10.00

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https://www.youtube.com/watch?v=11d64_f-m6U

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Hew Locke – 'Let's make something positive' | Tate

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THE ART OF WALKING AND SLOWING DOWN FRÉDÉRIC GROS

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THE ART OF WALKING AND SLOWING DOWN FRÉDÉRIC GROS

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https://bigthink.com/thinking/a-philosophy-of-walking/

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Walking is good for you. Regular walks can improve bone health, reduce blood pressure, and even prevent Alzheimer's. You're supposed to get in 10,000 steps a day, but millions of people across the United States don't manage that. The average number of strides an American takes daily is just 4,774. This has dire effects on our health.

(Photo by Omar Marques/SOPA Images/LightRocket via Getty Images)

But a book by French philosopher reminds us that there is more to walking than exercise.

In his book A Philosophy of Walking, French philosopher Frédéric Gros explores the surprisingly philosophical act of walking. He doesn't mean the light exercise that people try to fit into their busy schedule or our pragmatic walking from point A to point B, but rather the long hikes in nature that give us a chance to escape the day to day.

For Gros, walking is a liberating act that allows us to reconnect with ourselves. Not ourselves as we are introduced at parties or as the face we put on to make it through a long day at the office, but our true selves liberated from worrying about time, social conventions, and our daily cares. A long walk through a forest allows us to connect with the sublime in a way that merely looking at it from a distance does not. Appropriately done, walking allows us to just be in a way that can be hard to come by in our modern, fast-paced lives.

He explains this in a very French manner when he says:

By walking, you escape from the very idea of identity, the temptation to be someone, to have a name and a history. Being someone is all very well for smart parties where everyone is telling their story, it's all very well for psychologists' consulting rooms. But isn't being someone also a social obligation which trails in its wake - for one has to be faithful to the self-portrait - a stupid and burdensome fiction? The freedom in walking lies in not being anyone; for the walking body has no history, it is just an eddy in the stream of immemorial life.

And he speaks for many hikers when he explains how one can find more life in doing nothing than is often found in a hectic, event filled schedule.

Days of slow walking are very long: they make you live longer, because you have allowed every hour, every minute, every second to breathe, to deepen, instead of filling them up by straining the joints.

As he does prefer hiking over going on a walk in the city park, he says that what urban dwellers out for a walk actually do is "stroll," explaining that:

The urban flâneur does experience walking, but in a way far removed from Nietzsche or Thoreau. Walking in town is torture to the lover of long rambles in nature because it imposes, as we shall see, an interrupted, uneven rhythm.

But even this has meaning for him. He invokes Walter Benjamin and declares the urban walker to be "subversive" with respect to the urban phenomena of "solitude, speed, dubious business politics, and consumerism" in that they relish the anonymity of the crowd, are going nowhere fast, and see advertisements and sales like everybody else but manage to stroll past them.

Even if you can't go hiking down a winding country trail regularly, walking can have a philosophical benefit for you by placing you both within and without the modern metropolis.

Plus, walking was a vital part of many philosophers' processes.

Professor Gros mentions several great thinkers who took long walks, explaining their habits and how it related to their work.

He opens with Nietzsche, who was an avid walker. Originally used as a way to avoid the crippling pain of his migraine headaches, Nietzsche later found that his thought was stimulated by the long walks he took past rivers, forests, lakes, and Alpine peaks. He found walking a vital part of his process saying,

We do not belong to those who have ideas only among books, when stimulated by books. It is our habit to think outdoors - walking, leaping, climbing, dancing, preferably on lonely mountains or near the sea where even the trails become thoughtful.

His walks were a source of inspiration, and it is no coincidence that his most productive era was when he lived Sils Maria and was able to hike through the Alps. He only ceased his walks when his physical and mental health deteriorated, and he was forced into a wheelchair.

Immanuel Kant was also a regular walker, with an emphasis on regular. He took his daily walk at precisely five every day, and his neighbors were said to set their clocks to his routine. He only deviated from this rigid schedule twice, once to buy a book and once to join a rush to a newspaper publisher to get news on the outbreak of the French revolution.

Unlike Nietzsche's hiking, however, Kant's walks were not a direct part of his writing process. They were instead part of his extremely fine-tuned routine that he credited for his philosophical output. The walking was for his physical health, which he took pride in, and a chance not to have to think for a few minutes. Given his incredible output, the breaks were well deserved.

Outside of philosophy, many geniuses have understood the benefits of walking. According to local lore, Beethoven regularly took long walks in the Vienna Woods when he lived in Mödling, Austria in search of inspiration, and he often carried pens and paper just in case he found it. Charles Dickens enjoyed a walk when he couldn't sleep and saw walking as a way to keep himself sane.

Perhaps it's time to stop looking at walking as a way to get from A to B or as a light exercise and start viewing it as something more fundamental - a chance to more fully connect with ourselves, nature, and take a break from the hustle and bustle of everyday life. While not all of us can take five-hour treks like Nietzsche, most of us can find the time for a stroll in the park.

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Why going for a walk, alone, is a deeply philosophical act

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Think walking is void of philosophy? Nietzsche and Gros are here to say you're wrong.

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https://www.tate.org.uk/whats-on/tate-britain/art-now-kathy-prendergast-city-drawings

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Prendergast's City Drawings are based on contemporary maps of the world's capital cities. However, she deliberately by-passes systems of orientation and classification, divesting her source material of its coded information and merely transcribing, in each case, the network of lines that conveys the pattern of routes through, within and around each city.

Prendergast began this series in 1992, interested in working on a sustained long-term project, as opposed to the piece by piece basis of her early work. She had previously used maps, grafting imaginary locations on to images, often of the female body, and intending the viewer to 'read' the body as landscape. The City Drawings reverse this approach. The map no longer offers itself as a narrative, or indeed as an interpretative tool, but is instead transformed by drawing into a zone of the imagination. This practice relates as much to a long history of artists using map images as a way of accessing states of mind and the unknown as it does to conventional map making.

The series was initiated and has unfolded during a time of world political instability. Nations and cities, in the former Soviet Union or Yugoslavia for example, have come into being and others have disappeared, so that we have become accustomed to hearing of important events in unknown locations. For the most part Prendergast's cities remain unknown to us. Without the level of information carried by the typical A-Z, or without what Italo Calvino's Marco Polo described in the novel Invisible Cities as the city's 'thick coating of signs' we are unable to give her places names but we are nevertheless able to infer something of their individual histories: tightly-knit medieval cities are encircled by the open grid of modern town planning. At the point where flat land meets a mountain range, a coastline or a river, the momentum changes as design submits to nature.

Prendergast's City Drawings are tiny skeletal images in which even the largest and most powerful communities are reduced to a frail network of lines. Prendergast works with a B pencil in a light, almost anonymous style on small sheets of paper taken from a sketchpad. She draws from the centre of each page with the city on a North-South axis. Because the immense disparities in scale between cities are impossible to represent in so compressed a form Prendergast has worked intuitively, following her own sense of scale and allowing the smaller cities to float amoeba-like on the page while the great conurbations threaten the edges of the paper. The drawings are regularly disposed in a line around the room at head height, inviting close and prolonged scrutiny. Like anonymous portraits, they are sites for speculation and fantasy. Aside from evidence of character and of lived experience we read the drawings through resemblance: resemblance to each other and to a generic notion of the city. But also to other things: patterns and textures in nature, such as finger prints, organic structures and microscopic life forms. Prendergast offers this as a form of knowledge, derived through curiosity and imagination, in place of the kind of factual information we normally associate with maps. Each drawing traces the imprint of history, recording a moment in a process of organic growth. As cities continually evolve, each drawing remains in a sense unfinished and this ambitious project, currently a work-in-progress, could continue for as long as there are borders of national identity to redefine.

Text written by Frances Morris

Born 1958 in Dublin, graduated NCAD, Dublin 1980 and RCA, London 1986, lives and works in London.

Programme

The 1996-7 exhibition programme is supported by the Hanry Moore Foundation, the Patrons of Fine Art and an anonymous donor.

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Art Now: Kathy Prendergast: City Drawings | Tate Britain

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Art Now: Kathy Prendergast: City Drawings: past Tate Britain exhibition

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https://www.youtube.com/watch?v=-Lm48xH6PaY

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Peter Fischli and David Weiss, The Way Things Go, 1987, Excerpt.

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https://www.barbarawalker.co.uk

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https://www.museumoflondon.org.uk/discover/mapping-londons-legacy-slavery-docklands

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The legacy of the Atlantic slave trade is long, and it casts a shadow to this day. The Museum of London Docklands is surrounded by buildings, streets and statues built with the profits of slavery, in many cases commemorating the owners and traders of enslaved people.

The British trade in enslaved African people was ended in 1807, and the legal condition of slavery abolished throughout the British empire in 1833. These dates are celebrated as the end of a pernicious global system of exploitation and violence, lasting three hundred years, in which approximately eleven million African people were transported across the Atlantic in bondage. This figure does not even begin to count the estimated several millions who died before reaching land.

An end to slavery, however, did not equal an end to its social, financial and cultural effects. Two centuries after the trade was abolished, Britain's economy and cultural heritage remains inextricably tangled with the after-effects of slavery; a tangle which we are only beginning to recognise in full.

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Mapping the legacy of London's slave trade | Museum of London

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The legacy of the Atlantic slave trade is long, and it casts a shadow to this day. The Museum of London Docklands is surrounded by buildings, streets and statues built with the profits of slavery, in many cases commemorating the owners and traders of enslaved people.

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Tutorials with your tutor. What is a Fine Art Crit? Meet with your tutor times to be arranged in G304

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Tutorials with your tutor. What is a Fine Art Crit? Meet with your tutor times to be arranged in G304

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http://q-art.org.uk/portfolio/art-crit-video/

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Art Crits : 20 Questions. A Commissioned Artist's Video

Art Crits : 20 Questions - A Commissioned Artist's Video ( Talking About Talking About: An Introduction to Visual Art Critiques by Giles Bunch)

We asked recent graduate and presenter at one of our crits, Giles Bunch, to make a video guide to the art crit. The video contains interviews with fine art staff, industry professionals, students, graduates and self-trained artists from around the UK. It aims to prompt questions, discussion, inspiration, invention and above all confidence amongst participants and facilitators alike when approaching the crit.

The video is divided into four chapters but it can also be viewed as a whole or selected from. We have also included scripts to help you 'seek' to specific topics that you may be most interested in.

WATCH THE VIDEO AS A WHOLE:

(left) Full video script

WATCH THE VIDEO BY CHAPTERS:

(Find links to our Vimeo channel and chapter scripts below)

CHAPTER 2: Finding the right approach to the critique

This section looks at some of the different ways of organizing a crit and how/ why in art colleges, approaches might differ across year groups.

Part 2 - Finding the Right Approach / Script for Part 2

CHAPTER 3: Problems around critiques and solutions to these

This section looks at some of the barriers that people might face to taking part in crits and some of the ways we might overcome them. These include things associated with public speaking, ways to read an artwork, language barriers, and being intimidated by more dominant members in the group.

Part 3 - Problems around critiques and solutions to these / Script for Part 3

THINKING OF USING THIS IN TEACHING? Please get in touch. We have a number of packages and workshops to support this.

WHAT VIEWERS AT OUR LAUNCH SAID... ( Video launch feedback)

ADDITIONAL RESOURCES... (coming soon)

BUY THE SUPPORTING POCKET GUIDE... (In October 2013 we launched this video alongside Art Crits: 20 Questions - A Pocket Guide at the V&A, London. The pocket guide contains even more interviews as well as personal histories of the crit)

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Art Crits : 20 Questions. A Commissioned Artist's Video - Q-Art

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Art Crits : 20 Questions - A Commissioned Artist's Video (Talking About Talking About: An Introduction to Visual Art Critiques by Giles Bunch) We asked recent graduate and presenter at one of our crits, Giles Bunch, to make a video guide to the art crit.

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The properties that all materials have may or may not be characteristic of in their normal use:  all materials and equipment have weight, tensile strength, can be stretched or compressed, are flexible or rigid, have load bearing capacity,  colour,  texture, opacity/transparency.   They have form; can be broken down, sawn up, melted, snapped, or cut, they are sharp or blunt. They can be combined: stacked, assembled, joined, glued, screwed, bolted, taped, strapped, knotted, bound, poured, thrown or sprayed. They can be compressed,   crushed,   smashed,   dropped,   twisted,   distorted,   rotted, conserved, protected, restored or mended.

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https://thephotographersgallery.org.uk

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https://www.mdx.ac.uk/study-with-us/undergraduate/teaching-learning

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What to expect when you start uni

Learning in person and online

You'll mostly learn on campus

It makes a difference to learn in person. Most of our teaching is on campus with blended online activities for some subjects to give you flexibility.

We'll provide the best tech for learning

We continuously invest in our impressive facilities - over £200 million recently - so you have access to the latest tech and tools.

Ask us a question

Get personal advice on how studying with us could work for you and your future. Chat with our current students or ask our team.

Help to achieve your ambitions

You'll build a standout CV

We work with over 1000 international industry partners to plan our courses, services and employability opportunities so that you graduate with skills that employers want.

We'll share our networks with you

We use our industry contacts to benefit you. You'll meet and work with global employers like Google, Amazon and the BBC, as well as our most successful alumni.

How you'll make your impact

You'll learn about what really matters

Our academics teach you about critical issues, like social justice and sustainability, and support you to make the positive impact you want.

We'll lead the way with you

We ask students what they need from uni to succeed and be happy - so everyone gets a fair and equal chance.

A personal student experience

You'll learn as your best and most authentic self

We get to know your story - your experiences, your background - and make sure you learn in an open and inclusive environment where you can be yourself.

We'll support you as an individual

We prioritise one to one academic support, like personal tutoring with your lecturer, and free specialist mental health and wellbeing support.

Discover Middlesex

Get to know Middlesex for yourself. Check out our on demand content about how you'll learn your subject, student life on campus and support.

Get started

Our welcoming community

Coming to uni isn't just about your course. You'll be joining a positive and supportive community on one of the biggest and best campuses in London. We'll help you make the most of your time at uni and in London.

Life on campus

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What to expect when you start uni It makes a difference to learn in person. Most of our teaching is on campus with blended online activities for some subjects to give you flexibility. We continuously invest in our impressive facilities - over £200 million recently - so you have access to the latest tech and tools.

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https://www.mikesouthon.biz/portfolio/seeing-through-drawing

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A BBC film directed by Mike Dibb

Seeing Through Drawing

1977-78

"Seeing Through Drawing" An original two hour filmed essay, exploring of the meaning and importance of drawing, ranging from the first images we make as children to the work of contemporary artists and major artists from the past. Made without commentary, the sequences are linked by a perceptive and informal on-going conversation with the art historian Philip Rawson. The film includes unique archive footage of Matisse and Giacometti as well as beautifully filmed sequences of portrait drawings being made by David Hockney, Jim Dine and Ralph Steadman.

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A BBC film directed by Mike Dibb Seeing Through Drawing 1977-78 "Seeing Through Drawing" An original two hour filmed essay, exploring of the meaning and importance of drawing, ranging from the first images we make as children to the work of contemporary artists and major artists from the past.

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https://www.tate.org.uk/art/art-terms/s/sound-art

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Tate glossary definition for sound art: Art about sound, using sound both as its medium and as its subject