Monday, 30 January 2012
It would be fairly at odds with the spirit of the project if I were to whine about about last minute rule changing. I'm going to attempt to use a graph instead of my original literature survey. It's pretty daunting to see what I've spent the last year to eighteen months reading and doing.
Saturday, 28 January 2012
More writing on and through music.
Sunday, 22 January 2012
We have a physical space on the edge of west london which will be used as a studio and workshop for invited artists to develop and realise projects but it does seem naive in the present time not to think of all projects as essentially nomadic. Never the less, a concrete floor and a roof is available and that is reassuring to know.
The first product of Sender Brocken will begin shortly, consisting of a publication/proposition which is itself the ideological seed which will become an exhibition once it finds a suitable place to germinate.
If you would like to know more about Sender Brocken including information on submissions, please contact email@example.com
Friday, 20 January 2012
Wednesday, 11 January 2012
Sunday, 8 January 2012
|above, DAVID BEN WHITE, 'Wig Painting' 2007 40 x 50 cms|
Thursday 19th to Sunday 29th January 2012
private view Thursday 19th 6 - 9pm
amongst those Art/Converting so far and in no particular order are
LAURA MORRISON, MARCUS COPE, PAUL SAVAGE, STEPHANIE MORAN, ANNIE KEVANS, KATE LYDDON, ROSS WALKER, VANESSA JACKSON, JOHN DOUGILL, CRAIG ANDREWS, SACHA CRADDOCK, GILL ORD, RALPH DOREY, JOSHUA RAFFELL, ROBIN SEIR, RON MEERBEEK, SARAH McNULTY, JEFFORD HORRIGAN, WILL CRUICKSHANK, GLEN WILD, DAMIAN GRIFFITHS, WILLIAM STEIN, DAVID BEN WHITE ALAN MAGEE, CLARE PRICE, HOWARD DYKE, JEREMY WILLETT, AMANDA BENSON, KAY WALSH, TOM CHAMBERLAIN, CHRISTOPHER BOND, JOHN SUMMERS, DANIEL DEVLIN...
We're starting 2012 with a major fundraising initiative. We've asked artists from past and future shows to donate work (of any value) which can be sold for the simple one-size-fits-all sum of £200.
The show will be a wonderful opportunity to buy truly affordable art from truly engaging artists.
It is not only an incredibly generous gift to us from artists we love and admire but also a generous gift from those artists to you, the viewer; the chance for you simply to buy something you like safe in the knowledge that the artist has the serious, sincere qualities upon which studio1.1's reputation stands.
And at the same time of course your purchase will gain the added value of having contributed to the continued survival of a space that lives for and believes in the artists it shows.
studio1.1 thanks you for your help. Images of the donated work will appear shortly on our website.
The show's private view is on Thursday 19th from 6 till 9; at 7 the event will be opened by Sacha Craddock with a short introduction. It will continue to Sunday 29th, 12 till 6. To mark as clearly as possible its authentic fundraising status the show is called...
57a Redchurch St London E2 7DJ
tubes: Shoreditch High St/Liverpool St/Old St
bus: 8, 26, 35, 47, 48, 149, 344, 388
tel: 07952 986696
open: Wednesday to Sunday 12-6 pm
or by appointment
Monday, 2 January 2012
I'm around two weeks away from handing in my research proposal, my life has been completely taken over by this work for a long time, but the last couple of months have been the most intense. I have said a number of times previously that I have a genuine regret that I did not study an academic discipline, I have very little other than the sort of autodidactic knowledge that never ever feels completely secure. I am aware also that my refusal to ever head back and start at the beginning has made the road all the harder. A question I return to frequently is "what should an art education consist of?" and the follow up question "what is an art education for?" What I think is missing from such an education is an engagement with a wider reality, in place of hours of undirected time and an insular self-referential environment, there should be enforced encounters beyond experience, and radical critique of such experience. Gone should be the comforts of learning a craft, of learning the encyclopaedia of technique instead we should muck out stables, cook at a shelter, write a radio-play, haul back-line for a music hire company, sit in on history, midwifery and beauty therapy lectures in a variety of institutions. Art education has shown use only in the instances where it advances an individual's capacity to engage with the world, but it has done this badly and patchily. Career lecturers while away a student's time with the same list of artists, alluding to a lofty ideal of aesthetics and philosophy while hiding the only practical information they might impart for the future they present before the student's eyes, namely to learn to identify, accumulate and use the social currency which drives art as a business above all else. Why not instead enhance the individual so that they might construct an alternative to that awful system? How can we sit by as the institutions which pride themselves of their position as the vanguard fail to remove their activities from the bourgeois production of commodities for the gentry via the patronising exploitation of the lower classes? Why do we ignore the system of courtship and favour which effectively renders all other variation of artistic practice as flavours of the same ice cream? There should be no distinction between theory and practice and advancement should be of the self rather than what the self can present to a world. I do not wish to see the things made shiny by the morally bankrupt, the confidences of the middle-classes who see early on that what is needed to be successful is first of all to look successful. Be careless with professional materials and your efforts will be rewarded. Regardless of how it has ever been, that is now absurd. In the face of so much creativity in riots and animal husbandry and communication infrastructures, art education has been fatally uncritical of its own role and its own potential. The role of artist is primary that of the bricoleur, the adapter, the one open to meshing with new systems and throwing up new systems which are founded only upon the moving things that pass around rather than a static academy. That should be the training, and then the drive to learn how to throw a pot, or prime a canvas or shear a sheep will not only come forth naturally, but will make sense in terms of its use, rather than simply the accumulation of a skill which might, if one is luckily, be exploited by another further up the food chain.
I do not in any way bemoan my own education, it was the only one I had and the only one I could get and I am grateful. I do think the undergraduate art system will, in the face of genuine free-schools, pirate academy and bendy-bus pedagogy find itself utterly lacking and I hope that it does something about this before all but the most needy, foolish and scared abandon it for a more genuine experience of art learning.