210930 Alison
The meeting with Alison was very productive.
Follow the thread of thinking
Prefigure phenomenology — through the lens of theoretical theory
Understanding conversation
Interesting words and phrases
Translate
Read
Visceral
Compelling
Something “compressed
Beautifully “grotesque”
“Compelling” reading of images
Translate visuals
Example: Varga — talk back to the image unpacking the “methodology” (grandmothers spit directly onto the negatives “creating smudges and marks (etc)” as can be seen in Figure XXX.
Interesting words
Relevant
Perpetuate
Position
Empathy
Keywords
Meeting, Alison, Studio 4, Writing, Exergisis, Document plan
SV David 210913
Meeting was very productive.
We discussed presentation of works and the mural walls. I have had a number of sections printed to scale on paper to test on the walls. It is important to celebrate and work with the installation space. As such, I am keen to have the display walls covered. Each wall is 6x2.4 metres. The required coverage is approximately 6 x 3 meter drops, totalling to 32 linear meters.
Ideas
Phototex: $90 per linear meter — too expensive.
Draped printed muslin: $20 per linear meter — maybe.
Draped printed georgette: $30 per linear meter — too expensive.
Tiled 80gsm printouts: Poor quality.
Wall paper: Expensive. Glues to surface. Not suitable.
Printing on tiled substrate (ie") MDF: Need to build fake wall. Time is an issue. Once the section is complete cost will equal that of the wall paper.
Too time consuming. Difficult to install. Not cost effective.
25% strength
Tests with 25% strength print on paper is very good working with the space but not overpowering the main installation of the disks.
Background/mural serves as representational figuration of memory, thought, distance, separation. All of which are directly related to topic.
100% strength
Tests with 100% strength print on paper was not successful. The wall became central and a primary point of focus, overpowering the main works.
No.
Keywords
Semester 4, Studio 4, Installation, SV, Meeting, Overture
210907 SV David
I am the disconnect and disruption.
Talk about the disconnect of space in relation to the works (refer Bennett R and TCCP writing)
Talk to the space
Test fabric and mural
Screens
Page 2 right no
Page 3 right yes
Page 4 right no
Page 7 revisit (show more of space)
Page 7 right yes
Page 8 left yes
Page 8 right no
Page 9 left yes
Page 9 right yes
SV meeting Week 2
27 July 2021
Meeting agenda — view PDF.
Discussion
Steven has suggested I utilise the Themes for Contemporary Creative Practice course to “consolidate and curate” my work.
Masters by Research
Get CV and research proposal in order. This can be aligned with my final report so nothing is wasted which is great.
Objectives and rationale require the most work.
Clearly outline objectives. Ensure each objective is covered, ie: film photography, cameraless photography, printmaking, materiality/physicality, performance, collaboration, installation.
So long as the objectives are well structured and articulated, the rationales should be simple.
Using headings
I agree that this will help keep the writing on track.
Continuation of Semester 3 project
Consolidate and build structure/project plan for the subject matter and concepts for Semester 4 as discussed in the last meeting. — Live music community and culture in-betweens, personal spaces, behind the scene creative hubs.
Incorporating a selection of work from Semester 1 and 2. My current work is a natural progression from these projects (Invent Define Destruct, and IZO) which were informed by the live music community and culture.
Installation artist: Liz Deschenes
“Deschenes has brought Bayer's principle of "extended vision" to life with six photograms (Figure 1) … created by exposing photosensitive paper to the subtly varying light from the moon, stars, and surrounding buildings. The photograms act as hazy mirrors, reflecting fragments of their gallery setting back onto the other panels and onto the gallery itself, and at the same time accumulating traces of these settings as their surfaces oxidize in response to shifting atmospheric conditions. In this way, the work retains an ever-growing memory of the situations in which it is exhibited, belying the notion that a photograph represents a single moment that has passed.” (MoMA 2014)
Figure 1: Tilt/Swing is an installation of photograms: (360º field of vision, version 1) (Deschenes 2009)
Bibliography
Deschenes, Liz. 2009. Tilt/Swing (360º Field Of Vision, Version 1). Image. https://www.moma.org/collection/works/161348.
MoMA. 2021. "Liz Deschenes. Tilt/Swing (360º Field Of Vision, Version1). 2009". The Museum Of Modern Art. https://www.moma.org/collection/works/161348.
SV meeting Week 1
20 July 2021
Meeting agenda — view PDF.
Meeting notes
Link process with conceptual aims = methodology
Conceptual aims
Create a link to process
Main methods responding to the concept. (The xxx were used because they relate directly to the xxx concept.)
Viewer to the work
Exploring their body in relation to viewing my work
one of the most underrated art cultures in this country
Interviews are important = humanise it
How does process inform methodology?
Community of practice = installation artists
I like the in-betweens
Consider using photograms to address in-betweens
Overlap
Incomplete
Development of practice
Continue with photograms and film
Continue with alternative substrates: fabric, darkroom paper, plastic
Research INSTALLATION artists
David suggestions of installation artists to investigate
Miyako Ishiuchi (SFMOMA)
Miyako Ishiuchi (Robert 2020)
Joy Episalla (Episalla)
Waylead Beshty (Brown 2014)
Waylead Beshty (Barbican Centre 2014)
Bibliography
Barbican Centre. 2014. "Walead Beshty". 1995-2015.Undo.Net. Accessed July 23, 2021. http://1995-2015.undo.net/it/mostra/182300.
Brown, Mark. 2014. "Rubbish Idea: Walead Beshty Artwork Made From Year’S Detritus Goes On Show". The Guardian. Accessed July 23, 2021. https://www.theguardian.com/artanddesign/2014/oct/08/walead-beshty-artwork-years-detritus-rubbish-barbican.
Episalla, Joy. 2021. Joy Episalla. https://www.joyepisalla.com/.
Robert, Henri. 2020. “Miyako Ishiuchi and her Mother, the Evolution of Japanese Society”. Accessed July 20, 2021. https://pen-online.com/arts/miyako-ishiuchi-and-her-mother-the-evolution-of-japanese-society/.
SFMOMA. n.d. "Ishiuchi, Miyako". SFMOMA. Accessed July 23, 2021. https://www.sfmoma.org/artist/miyako_ishiuchi/.