Tutorial: Block 4, Week 2

David Somers bio photo By David Somers Comment

The group tutorial this week was a discussion about where everybody is with the Research Paper.

It was also an opportunity to have a chat with the new members of the online cohort, and also for them to get to know us a bit better. Somehow the discussion ended up veering into talking about Japanese Drummers (such as Kodo and Yamato), and movies that are shot as a single take (such as Russian Ark)

A great tip from Leonie. Through UAL we have access to kanopy. A great selection of video on demand, including a lot of visual art documentaries. Ideal for learning. Or procrastination from the Research Paper.

And then Jonathan asks the questions that everybody has been dreading:

is everything ok with your papers — how has the experience been so far? Is everything ok with your papers — how has the experience been so far?

For me, I have a good first draft, and wouldn’t say that I hated writing it, but it has been less time to make art. It sounds like everybody has been making progress with their research papers, and like me, others have found it difficult to balance life, the research paper, and making art… reading and writing the research paper being at the forefront to the detriment of everything else.

Discussing this balance, the notion of a framework came up. Doing things. But not classified as “making art”. Experiments that didn’t go as expected. Drowning in guilt. It feels pointless.

Can unexpected bits be useful. A break can be useful.

A great observation, and so true for me too, by Sarah S:

[Doing the research paper] informed my practice in a very needed way, just my practice is not happening at the moment.

Pointless. Only makes sense in a framework that defined the “point” of something — do we need to change the framework in which we make art? Who defines what the point of something is? Against what criteria is that measured?

Jonathan said “I don’t know many artists who like what their own work” and then clarified it with this:

many artist are always looking at their own work with a very critical eye, seeing things that can improve or could have been better — on of the big challenges as an artist is know how to stop!

And also this (and sadly the original reference was lost):

art does not passively observe or mirror the world — it creates the world — historically art is at the forefront — anticipating and remaking the world — helping people see it in an entirely different way therefore freedom — from a direct connection to industry or some other instrumental outcome is vital to maintain this critical anticipation

A mention of quality in art.

Turner Prize 2016

John Moores Painting Prize 2016

Jonathan then asks:

Against a financial framework these 2 prizes offer the most money for art — £25,000 each — does this help or hinder the creation of good work?

Does the cash influence the art? Can you make a living from art?

A discussion about the gallery system, and the secondary market.

D.I.Y. or Die: How to Survive as an Independent Artist

The Sacred Cows of the Art World

There was an artist talk two years ago — Emily Allchurch — she talks about how much time she has to spend on admin rather than making her work — it was a lot something like 60-70% of her time.

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