A factor we’re asked to consider for Assignment 5 is curation – how to display or present our work and what might inform our choices. We’re pointed to a number of artists for examples of how they have curated their own work as a guide. The difficulty I found when following this up was that none, if they had one person exhibitions at all, had curated the content, and most had only one piece of work on show in any given gallery. Nevertheless, the principles still apply – what order (temporal, thematic, drama, palette, size, message impact), what background (I … Continue reading Curation

Formative feedback, Part 3

For logistical reasons, it made more sense earlier to deal with written elements of the course after completing the practical work. Some of those conditions still pertain but seem likely to persist due to current lockdown conditions delaying delivery of materials, and so I’ll need to make some logistical and physical accommodations to progress. One thing to emerge from this upside down and back to front way of doing things is a sudden realisation that following up the work of other artists is beginning to make sense in terms of my own practice, and another is that this has most … Continue reading Formative feedback, Part 3

“Would I say this was good if I didn’t know it was a Pollock?”

So what’s this about? To some extent, it’s a follow-on from Brian Eno’s discussions on the matter of art and how to classify and value it. His thesis is that, so long as there is no taxonomic model for positioning different kinds of creative art (the things we do that we don’t need to do – like hair styles), value will always be dictated by a few people at the top who have established a reputation and a kind of provenance by being in the right place with the right people at the right times. This can only lead to … Continue reading “Would I say this was good if I didn’t know it was a Pollock?”

Brian Eno on art, value, and culture

This is from my other blog and comprises a critique of Eno’s lecture to the AA School of Architecture while acknowledging the initial questions Eno asks and his stated premise. Brian Eno’s lecture to the AA School of Architecture takes on the problem of how to talk about, to write about, to classify and describe art. Or that was the plan. The lecture starts well with the idea that the arts – all of them – are everything you don’t have to do as illustrated by screwdrivers. The business end is a fixed design, functional and with no room for … Continue reading Brian Eno on art, value, and culture

The meaning of art

After a lifetime in health care with varying degrees of responsibility, it was a joy to retire and do something less critical. Art would be about footling around with paint and getting charcoal on your nose, and nobody would die if I forgot who Matisse was. I was wrong on all counts except, obviously, the one about people dying of my sudden-onset Matisse Amnesia. Art has a complex history of decoration, illumination, and exploitation, but latterly has also had a political edge – take Banksy’s various visual commentaries, especially his dystopian fairground, Dismaland. I had been largely unaware of much … Continue reading The meaning of art