Moving from traditional to contemporary; and from improving to established
This exploration was partly driven by an interest in art and partly by an interest in learning. The art-interest was a desire to move from doing quite ‘traditional’ art – landscapes, still life, some simple portrait work – at a level that was beyond Beginners Group and still ‘Improving’ … and to get somewhere closer to being able to do more contemporary work at a level that I might consider ‘established/confident in my own activities’. The learning-interest was part of my exploration of ‘pulled-in’ learning ie not taking a structured course, with fixed timetables, over a defined timescale – but moving in whatever ways seem appropriate, along flexible pathways, pulling in resources/learning as and when needed, and speeding up/slowing down as the situations allow. What follows is some attempt to put this down as a set of intentions (rather than a fixed curriculum) that tie in with my existing interests. It starts with some ‘entry point ‘ descriptions of where I am now; and sketches out some possible lines I might follow … just for interest/fun and from a desire to learn rather than a need for a qualification.
Starting points
Knowing properties of colour, composition, materials, context, print qualities – in figurative and abstract works
Use of watercolour, acrylic, pencil, charcoal, pastels, ink, print, glazes, guache, oil etc
Basic knowledge of use of software and photography in producing art
Knowledge of artists, trends, approaches, styles.
Basic understanding of the language of art
Able to produce a small amount of original work, planned and made independently
Able to respond to prompts and suggestions – including working to an external brief
Understanding the elements of theory and visual culture
Able to combine/integrate approaches and materials
Able to express personal interpretations through art
Understanding potential audiences for art
Produce a simple portfolio of work that covers a range of styles, subjects and media
Maintain records of ideas, planning, test pieces, sketches, storyboards, reflections etc
Produce informed personal investigations (1000-3000 words) into ideas, issues, concepts or themes, clearly demonstrating a line of reasoning
Spend 15 hours (after preparation time) producing a finished piece of art, complete with record of workings.
Outcomes
By the end of the process, I hope to have:
Established a sense of self as an artist; an artistic identity
A personal platform from which to flourish as an artist, writer, curator etc
Undertaken a creative journey that is independent, experiential, reflective, flexible
Experienced a range of opportunities – projects, collaborations, placements, workshops, visits etc
Become aware of a broad range of contemporary artistic practices
Participated in a public exhibition of a major work (or series of works) and undertaken some real-world activities
Formed a substantial portfolio of work
Assembled future ideas as a portfolio of possibilities
Developed a firm understanding of theoretical issues around the conceptualisation and production of art
A substantial set of understandings of contemporary art
An ability to communicate interests, intents, processes – as design/adapt; as research; as academic dissertation; as critical reflections and as exploratory practical pieces
An ability to generate ideas, to focus down on the elements of a theme, to solve problems
An ability to personally respond to briefs, calls for proposals and development opportunities
An enthusiasm for continuing development and learning
Processes
Actively participating in a mix of lectures, tutorials, workshops, coursework, assignments, critiques, discussions, practical activities, seminars, presentations, visits, study tours, placements (in UK and abroad), competitions etc
Experimenting with a range of methods and materials including painting, drawing, printmaking, writing, film/video, sculpture, photography, installation, and digital
Exploring how basic methods can be used, combined, extended and subverted
Relating ideas, methods, materials, meanings and contexts
Developing flexible self-direction and review
Maintaining an intellectual curiosity; an approach based on puzzling
Learning through doing and experimenting, without necessarily focusing on perfection of products. Reflecting on learning itself, as playing with ideas
Critically reflecting, alone and in groups, on own work and the work of others
Some peer-peer learning as part of a learning community/network
Building confidence in making art, and talking/writing about art
Developing a clear and extensive language for writing/talking about ideas in art and creativity
Producing written articles (each at least 2000 words, and one of around 6000 words) on relevant themes and concepts
Working to own interests and to external specifications
Collaborating with others, including those with different interests, backgrounds and approaches
Experiencing at least one placement in a creative real-world setting
Undertaking a sustained, in-depth, theoretically informed research activity; engaging with new research practices in contemporary art
Making a wide variety of work, alone and with others, with supporting evidence of thinking and process
Making a substantial work of art (or linked series of works) to be shown and discussed publicly: Using a variety of media, techniques, technologies, images, texts, cultural contexts etc.
Topics to be covered
How art is made, seen and talked about in contemporary society
What it means to be an artist in C21st UK
What contemporary art can contribute to current social debates
Historical influences on contemporary thinking; understanding continuity and change
Creative publishing, marketing and dissemination; art as writing
Art education; art and learning
Ideas around the value of art as a creative activity in contemporary society
Theoretical and contextual underpinning to art practices
Contemporary discourses, philosophy and aesthetics
Established and emerging ideas in art
Business models for creative practice
Models of curatorial practice
And at least eight of the following:
Public art and socially engaged art
Art and a range of social issues (eg housing, wellbeing …)
Art and identities
Art and research
Art and ambiguity
Art and histories
Art and anthropology; art and psychology
Art and genders
Art and urban geographies (Art and the city)
Art and language
Art and architecture
Art, place and space
…. plus any others that may emerge during the process.
