The Exhibition is up and we had an opening the Friday just gone, lots more people than I thought; I think we grabbed them with the title 'When Life Gives You Lemons, Make Lemonade!', the show was all about how lazy language is and how we are loosing all these wonderful and colourful sayings and such.
SCULPTURE WEEK 13
everyone
Yes hard to believe but it's the end of semester.
Thanks for a great one.
Let's work together to make the last few sessions count.
end of semester drinks this friday 28/5 - 5pm BYO drinks and nibbles
reminder re screenmachines call for volunteers.. thanks to those that have already replied
materials workshops...please let us know if there are any further workshops you'd be interested in and we'll do our best to deliver them next semester.
statements as you know your statements are an important part of your submission.
If you want feedback on your draft statements please bring them along to the studio so we can workshop them.
We will also be running a statement workshop in week 13 so you can learn from each other and refine your writing.
second and third yr submission mock ups week 13
we would like to look at your final set up to workshop your submission approach etc.
Please bring all your work (support work included) to the studio this week so we can 'explore the possibilities.'
This is a great way to get feedback and will refine your submission.
SUBMISSION DATES
second years
SUBMISSION MONDAY JUNE 7 5PM
REMOVE YOUR WORK FROM ALL AREAS OUTSIDE YOUR STUDIO
between 5 and 10pm wednesday June 9
CLEAR YOUR SPACE FOR SCREENMACHINES BY JUNE 18 (see details below)
third years
SUBMISSION THURSDAY JUNE 10 5PM
REMOVE YOUR WORK FROM ALL AREAS OUTSIDE YOUR STUDIO
Thursday June 17 by 5pm
Please note everything including journals etc. is due on this date...
art forum -
Jeremy James is a Canadian-born, Australian-raised artist based in Europe, who has worked across a diversity of media to explore his interests and concerns with the relationship between representation and meaning. His early visual art practice was driven by a critical and deconstructive eye, particularly with reference to personal and cultural identity. Jeremy will discuss the ways in which his initial investigations at art school set the foundations for a career that has evolved predominately into theatre and performance.
Having initially studied at the Canberra School of Art in the early 1990s, Jeremy has worked as an actor, director, artist and teacher across the performing and visual arts. His interest in interdisciplinary practices lead him to Europe to further train with leading artists and teachers. He has developed a unique approach to contemporary performance which is informed and inspired by his early experience and training as a visual artist. Most recently, he was a member of Ariane Mnouchkine's renowned theatre ensemble, Le Théâtre du Soleil in Paris. He collaborated on all aspects of the company's epic-projects, Le Dernier Caravansérail and Les Éphémères, from design and development to production and performance. He has toured extensively to major theatres and festivals internationally and received critical acclaim for his work. He has been invited to give workshops in France, Spain, UK, Canada, Argentina and Brazil, while teaching and leading masterclasses for actors and directors at drama schools and universities in Europe.
3rdyrsculpture week 13
11.30 friday is on. meet in the social area.
it is very important that you attend this session as
we will use this time to do setls, check out your mock submissions and sort any space issues etc.
a reminder that your project summaries are due this friday at 9am
The final appointment sheets for this semester are up.
2ndyrsculpture week 13
Lucy and I have assessed your presentations and will give you written comments and a grade this week.
a reminder we will be running statement workshop session this thursday - please come prepared with your drafts
SCREENMACHINES 2ND YR SPACES REQUIRED
the numbers involved in screenmachines - 60 means that all 2nd yrs will need to clear their spaces in such a way as to allow
the groups to work. This does not mean you have to remove everything. please simply clear your bench tops and store all objects say under/behind your bench, or in lockers etc.
make the floor space as open as possible. The workshop runs from june 18-23 inclusive so please make an effort to sort this out and help me/us out.
If this is not done I will have to do it and I'd prefer not to as it means risking damaging our work etc.
obviously you will not be able to use your studio space from june 18-23. if this is a problem let me know and i'll see what i can do.
Cheers
John
PS FOR EXHIBITION OPENINGS ETC. SEE NOTICEBOARDS
PPS bad joke for the week (your weekly reward for getting to the end of this email)
a can of coke was sitting on a table in Italian restaurant crying.
another can of coke came over and asked - 'what's up mate are you OK?'
the sobbing can replied - 'I'll be alright, it's just that I'm a bit 'Canolonely"
(this is the best joke we've had all semester for sure)
SCULPTURE WEEK 12
everyone
materials workshops... great to see so many of you attending the papier mache workshop last week.
Please let us know if there are any further workshops you'd be interested in and we'll do our best to deliver them.
statements Your statements are an important part of your submission.
If you want feedback on your draft statements please bring them along to the studio so we can workshop them.
We will also be running a statement workshop in week 13 (details TBA) so you can learn from each other and refine your writing.
materials workshop
this week LATEX 9am thurs...
second and third yr submission mock ups week 13
we would like to look at your final set up to workshop your submission approach etc.
Please bring all your work (support work included) to the studio so we can 'explore the possibilities.'
This is a great way to get feedback and will refine your submission.
SUBMISSION DATES
second years MONDAY JUNE 7 5PM
third years THURSDAY JUNE 10 5PM
Please note everything is due on this date...
art forum - William L. Fox
The Art of the Anthropocene
The Anthropocene begins in the 1790s when the burning of fossil fuels creates a global signature, a strata of residue from greenhouses gases that marked when humans became the most pervasive geomorphological force on the planet. The beginning of the epoch was also marked by the birth of Earth systems science, and the start of a concurrent evolution in the artistic representation of the planet from landscape art to land art, from making pictures of the land to using land itself and our effects on it to make art. Fox’s talk will trace the development of earth systems science from Alexander von Humboldt to Nobel laureate Paul Crutzen, who proposed the Anthropocene, and examine the synergy between artists and scientists as they study, represent, and seek to modify the environment.
Fox is the director of the Center for Art & Environment at the Nevada Museum of Art in Reno and a fellow of both the Royal Geographical Society and Explorers Club. He is the recipient of fellowships from the Guggenheim Foundation, National Endowment for the Humanities and National Science Foundation. He has been a visiting scholar at the Getty Research Institute, Clark Art Institute and National Museum of Australia, and published more than a dozen books on how human cognition and landscape interact.
3rdyrsculpture week 11
11.30 friday is on. meet in the social area.
thanks to those of you who came to antoinette's show last week.
you got this last week but it's worth seeing it again...
Worth reflecting on what is required for the summary
remembering to keep the positive momentum up in the studio
The project summary will consist of a description of the
> intention and proposed outcomes of the work that you will be
> submitted for exhibition at the end of second semester. It
> will also outline the strategies you will use for the
> development of that work and your progress to date. (300 words)
>
> It will also contain a summary of contextual references for your
> project (300 words) and a reflection statement on your
> submission that will act as a companion to and summary of your
> journals, blogs, maquettes and other support material. (300 words).
note this summary will be considered as part of your final folio submission
crit group 3C this week
this wed is Ian day so come along in the morning with any tech issues
The final appointment sheets for this semester are up.
2ndyrsculpture week 11
Your presentations are due this week - thursday from 10-12noon.
First year area. A reminder that they are now 5 mins. Please come prepared.
from your unit outlines - Using your group/individual online site,
deliver a 5-minute presentation that documents and evaluates the development of your individual work in relation to the group activities.
Your presentation should articulate how you have reflected on the processes and experiences, as opposed to just showing the outcomes.
This presentation will demonstrate how you have:
· worked with your group
· responded through your own work and research
After the presentations we'll be having more one on one appointments.
To assist with images for your presentation there is a CD of images taken from our group activities on the noticeboard... feel free to borrow it and please return it.
Cheers
John
PS FOR EXHIBITION OPENINGS ETC. SEE NOTICEBOARDS
PPS bad joke for the week (your weekly reward for getting to the end of this email)
What do you get if an elephant sits on your friend?
(scroll down)
a flat mate
SCULPTURE WEEK 11
everyone
materials workshops... great to see so many of you attending the papier mache workshop last week.
Please let us know if there are any further workshops you'd be interested in and we'll do our best to deliver them.
statements please take steps to draft up your statements and share them with each other.
art forum - Dr Marie Sierra has this year been appointed as the new Head of the Launceston Academy of Performing and Visual Arts. Dr Sierra has previously held senior positions, including Associate Dean of Research at RMIT University. Her interest in how art constitutes research has led her to be active in visual arts advocacy, representing the interests of practising artists through committee positions with Gertrude Street Contemporary Art Spaces, the Public Art Committee and the Cultural Affairs Committee for the City of Melbourne.
3rdyrsculpture week 11
we will be going to see and discuss antoinette's show this friday at 11.30
meet at 11.15 in the sculpt society area or
meet us out the front of Top space at the salamanca arts centre at 11.30
Worth reflecting on what is required for the summary
remembering to keep the positive momentum up in the studio
The project summary will consist of a description of the
> intention and proposed outcomes of the work that you will be
> submitted for exhibition at the end of second semester. It
> will also outline the strategies you will use for the
> development of that work and your progress to date. (300 words)
>
> It will also contain a summary of contextual references for your
> project (300 words) and a reflection statement on your
> submission that will act as a companion to and summary of your
> journals, blogs, maquettes and other support material. (300 words).
note this summary will be considered as part of your final folio submission
crit group 2B this week
2ndyrsculpture week 11
time to really embrace your own work.
if you are struggling to identify your areas of interest please talk to us sooner rather than later
Lucy''s lecture this week about contemporary making/non making
WEEK 12 PRESENTATION TASK IS NOW 5 MINUTES NOT 10
DEBRIEF/EVALUATION session...
Whiteboard session - Things discussed
• Control
• Ownership/boundaries/limitations
• Communication/translation
• Being informed of the processes (so you’re not a blind operator)
• Time-lines/time frames. Realistic sense of time involved in fabrication
• False deadlines (safety net)
• Relevant information to the fabricator (what they need to know/what they don’t need to know)
• Thinking laterally about what a fabricator is
• Being prepared to be flexible/compromise in order to make the work
• Persevere until you find the right fabricator
• The power of exciting the fabricator with your project – creates sense of interest and pride
• Respect and sensitivity
• Maintain a detailed eye on the job – shows you are serious and care about the work, and value the skill undertaken
Colin will also be joining us again this thurs
Cheers
John
(this week's font is baghdad)
PS FOR EXHIBITION OPENINGS ETC. SEE NOTICEBOARDS
PPS bad joke for the week (your weekly reward for getting to the end of this email)
why did the kid fall off his bike?
(scroll down)
because a fridge fell on him
(blame rahni for that one)
My lovely friend Hannah has a pics of some of Manfred Pernice’s work on her studio wall, I saw it and basically feel in love.
His sculptural works are built or assembled out of simple materials such as cardboard, chipboard, concrete, and metal, to which he adds texts, maps, and photocopies. In spite of their makeshift character, there is much in these open sculptures that recalls the formal precision of architectural models, figures, furniture, and other everyday objects.
Taking observations of the urban environment as his point of departure, Pernice highlights the inadequacies of this environment and subjects the ordering systems of modernity to a fundamental critique. To explain his specific artistic approach to these systems, he has introduced concepts such as Verdosung (canning) and Peilung (linking). The former involves isolating and preserving specific information stored in the workings of the present: original use of language, function, architectural form, and immanent norms. For the latter, Pernice connects specific places or representations of them to form complex, richly associative structures. Starting from one position, he creates a weave of spatial axes, relationships, and material references, as well as showing an increasing interest in their disintegrative potential. In this way, his works are able to develop both an autonomous form and a character that is installation-based, narrative, and site-specific.
Manfred Pernice (born 1963) lives and works in Berlin.
SCULPTURE WEEK 10
everyone
materials workshop is on papier mache this week 9am in first year area
statements please take steps to draft up your statements and share them with each other.
your written words are an important way of communicating what your intentions are.
art forum - John Nixon will introduce Colour-Rhythm Films 2006-2008 and The Donkey’s Tail: Ad Hoc Blues (Seven Short Silver Films) 2008 that will receive their premier screening in Hobart. Nixon will discuss the films in the context of his broader ideas of art and core practice of painting. The two new abstract films are extensions from Nixon’s polychrome and silver groups of paintings. Nixon will also make a presentation of a number of real paintings as part of his discussion.
John Nixon puts forward a model of practice that is multidisciplinary involving his work as a painter, filmmaker, musician, photographer, as well as independent curator. The film screening will begin with a short excerpt of a documentary film of Nixon’s experimental music group The Donkey’s Tail playing live; then follow this with a screening of one of the abstract films; then take questions from the students; and then screen the second abstract film.
John Nixon was born in Sydney 1949 and had his first solo exhibition at Pinacotheca, Melbourne in 1973. In 1982 he was selected to represent Australia at Documenta 7, in 1999 was the winner of the Clemenger Contemporary Art Award and in 2001/02 was the recipient of an Australia Council Fellowship Award. Nixon regularly shows at Anna Schwartz Gallery, Melbourne; Sarah Cottier Gallery, Sydney; Goddard de Fiddes Gallery, Perth; Sue Crockford Gallery, Auckland; Hamish McKay Gallery, Wellington and Galerie Mark Muller, Zurich. Since 2000 Nixon has held large-scale exhibitions surveying aspects of his work from 1968-2005 at the following museums and galleries: Kunstmuseum Singen, Germany; Kunstmuseum Baselland, Basle, Switzerland; Stiftung fur Konkrete Kunst, Reutlingen, Germany; Australian Centre for Contemporary Art, Melbourne; the Art Gallery of Western Australia, Perth; and works from 2006-2007 TarraWarra Museum of Art, Healesville.
3rdyrsculpture week 10
peter waller
11.30 this friday may 7 - social area
about magic and unknowing in art. it's speculative and experimental
and may offer an alternative way of seeing things for some.
pecha kucha grade and feedback have been distributed
mid semester review you will receive a mid semester review comments and rubric early this week.
please talk to us if you need to
once again appointment sheets... have been filling up ... thankyou
crit group 1A this week
2ndyrsculpture week 10
Whilst last week was at times uncomfortable it did allow all of us to experience a dimension of
the 'lack of control' that can sometimes accompany 'non making'. Use the momentum generated to propel your practice over the next few weeks
Please keep your 'no idea' material investigations going as they are great ways to get to know yourself and your work.
Again, it's worth looking ahead to get a feel for the final tasks and what we are looking for.
Meet in the studio at 10am to discuss you nonmaker research
online
Please contiue to make an effort to connect and contribute if you haven't already...
Nancy will also be floating around this week from 1-2pm to assist and to reflect on the tasks.
Colin will also be joining us again
Cheers
John
PS FOR EXHIBITION OPENINGS ETC. SEE NOTICEBOARDS
PPS bad joke for the week (your weekly reward for getting to the end of this email)
Why do elephants paint their toenails yellow.(scroll down)
so they can hide upside down in custard
The Abandon Houses Project is really very lovely. I find flicking through the many many photos both mysterious and melancholy.
Created by Kevin Bauman, the project started ten years ago as a little side project and has grown and grown and grown.
.
