Moving from traditional to contemporary; and from improving to established<\/u><\/p>\n\n\n\n
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.<\/p>\n\n\n\n\n\n\n\n
Starting points<\/strong><\/p>\n\n\n\n Knowing properties of colour, composition, materials, context, print qualities \u2013 in figurative and abstract works<\/p>\n\n\n\n Use of watercolour, acrylic, pencil, charcoal, pastels, ink, print, glazes, guache, oil etc<\/p>\n\n\n\n Basic knowledge of use of software and photography in producing art<\/p>\n\n\n\n Knowledge of artists, trends, approaches, styles.<\/p>\n\n\n\n Basic understanding of the language of art <\/p>\n\n\n\n Able to produce a small amount of original work, planned and made independently<\/p>\n\n\n\n Able to respond to prompts and suggestions \u2013 including working to an external brief<\/p>\n\n\n\n Understanding the elements of theory and visual culture<\/p>\n\n\n\n Able to combine\/integrate approaches and materials<\/p>\n\n\n\n Able to express personal interpretations through art<\/p>\n\n\n\n Understanding potential audiences for art<\/p>\n\n\n\n Produce a simple portfolio of work that covers a range of styles, subjects and media<\/p>\n\n\n\n Maintain records of ideas, planning, test pieces, sketches, storyboards, reflections etc<\/p>\n\n\n\n Produce informed personal investigations (1000-3000 words) into ideas, issues, concepts or themes, clearly demonstrating a line of reasoning<\/p>\n\n\n\n Spend 15 hours (after preparation time) producing a finished piece of art, complete with record of workings.<\/p>\n\n\n\n Outcomes<\/strong><\/p>\n\n\n\n By the end of the process, I hope to have<\/em>:<\/p>\n\n\n\n Established a sense of self as an artist; an artistic identity<\/p>\n\n\n\n A personal platform from which to flourish as an artist, writer, curator etc<\/p>\n\n\n\n Undertaken a creative journey that is independent, experiential, reflective, flexible<\/p>\n\n\n\n Experienced a range of opportunities \u2013 projects, collaborations, placements, workshops, visits etc<\/p>\n\n\n\n Become aware of a broad range of contemporary artistic practices<\/p>\n\n\n\n Participated in a public exhibition of a major work (or series of works) and undertaken some real-world activities<\/p>\n\n\n\n Formed a substantial portfolio of work<\/p>\n\n\n\n Assembled future ideas as a portfolio of possibilities<\/p>\n\n\n\n Developed a firm understanding of theoretical issues around the conceptualisation and production of art<\/p>\n\n\n\n A substantial set of understandings of contemporary art<\/p>\n\n\n\n An ability to communicate interests, intents, processes \u2013 as design\/adapt; as research; as academic dissertation; as critical reflections and as exploratory practical pieces<\/p>\n\n\n\n An ability to generate ideas, to focus down on the elements of a theme, to solve problems<\/p>\n\n\n\n An ability to personally respond to briefs, calls for proposals and development opportunities<\/p>\n\n\n\n An enthusiasm for continuing development and learning<\/p>\n\n\n\n Processes<\/strong><\/p>\n\n\n\n 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<\/p>\n\n\n\n Experimenting with a range of methods and materials including painting, drawing, printmaking, writing, film\/video, sculpture, photography, installation, and digital<\/p>\n\n\n\n Exploring how basic methods can be used, combined, extended and subverted<\/p>\n\n\n\n Relating ideas, methods, materials, meanings and contexts<\/p>\n\n\n\n Developing flexible self-direction and review<\/p>\n\n\n\n Maintaining an intellectual curiosity; an approach based on puzzling<\/p>\n\n\n\n Learning through doing and experimenting, without necessarily focusing on perfection of products. Reflecting on learning itself, as playing with ideas<\/p>\n\n\n\n Critically reflecting, alone and in groups, on own work and the work of others<\/p>\n\n\n\n Some peer-peer learning as part of a learning community\/network<\/p>\n\n\n\n Building confidence in making art, and talking\/writing about art<\/p>\n\n\n\n Developing a clear and extensive language for writing\/talking about ideas in art and creativity<\/p>\n\n\n\n Producing written articles (each at least 2000 words, and one of around 6000 words) on relevant themes and concepts<\/p>\n\n\n\n Working to own interests and to external specifications<\/p>\n\n\n\n Collaborating with others, including those with different interests, backgrounds and approaches<\/p>\n\n\n\n Experiencing at least one placement in a creative real-world setting<\/p>\n\n\n\n Undertaking a sustained, in-depth, theoretically informed research activity; engaging with new research practices in contemporary art<\/p>\n\n\n\n Making a wide variety of work, alone and with others, with supporting evidence of thinking and process<\/p>\n\n\n\n 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.<\/p>\n\n\n\n Topics to be covered<\/strong><\/p>\n\n\n\n How art is made, seen and talked about in contemporary society<\/p>\n\n\n\n What it means to be an artist in C21st UK<\/p>\n\n\n\n What contemporary art can contribute to current social debates<\/p>\n\n\n\n Historical influences on contemporary thinking; understanding continuity and change<\/p>\n\n\n\n Creative publishing, marketing and dissemination; art as writing<\/p>\n\n\n\n Art education; art and learning<\/p>\n\n\n\n Ideas around the value of art as a creative activity in contemporary society<\/p>\n\n\n\n Theoretical and contextual underpinning to art practices<\/p>\n\n\n\n Contemporary discourses, philosophy and aesthetics<\/p>\n\n\n\n Established and emerging ideas in art<\/p>\n\n\n\n Business models for creative practice<\/p>\n\n\n\n Models of curatorial practice<\/p>\n\n\n\n And at least eight of the following<\/em>:<\/p>\n\n\n\n Public art and socially engaged art<\/p>\n\n\n\n Art and a range of social issues (eg housing, wellbeing \u2026)<\/p>\n\n\n\n Art and identities<\/p>\n\n\n\n Art and research<\/p>\n\n\n\n Art and ambiguity<\/p>\n\n\n\n Art and histories<\/p>\n\n\n\n Art and anthropology; art and psychology<\/p>\n\n\n\n Art and genders<\/p>\n\n\n\n Art and urban geographies (Art and the city)<\/p>\n\n\n\n Art and language<\/p>\n\n\n\n Art and architecture<\/p>\n\n\n\n Art, place and space<\/p>\n\n\n\n \u2026. plus any others that may emerge during the process.<\/p>\n","protected":false},"excerpt":{"rendered":" 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 […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-915","post","type-post","status-publish","format-standard","hentry","category-general"],"_links":{"self":[{"href":"https:\/\/thewordsthething.org.uk\/index.php?rest_route=\/wp\/v2\/posts\/915","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/thewordsthething.org.uk\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/thewordsthething.org.uk\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/thewordsthething.org.uk\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/thewordsthething.org.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=915"}],"version-history":[{"count":5,"href":"https:\/\/thewordsthething.org.uk\/index.php?rest_route=\/wp\/v2\/posts\/915\/revisions"}],"predecessor-version":[{"id":952,"href":"https:\/\/thewordsthething.org.uk\/index.php?rest_route=\/wp\/v2\/posts\/915\/revisions\/952"}],"wp:attachment":[{"href":"https:\/\/thewordsthething.org.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=915"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/thewordsthething.org.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=915"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/thewordsthething.org.uk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=915"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}