Sarah Tulloch discussed the physicality of film as a medium being a relevant consideration in its use, Mark Melvin later re-inforced this point by mentioning the presence of film (as opposed to video) projectors in gallery spaces as being a particularly powerful one.
Ross (1st year?) mentioned that he had produced some work contrasting new and redundant technologies (typwriters vs word processors) and physically pulling old technologies apart and making interventions. Ross if you could include a link to this work on the blog that'd be wicked.
Gavin (4th year) made the point that older technologies require more time and investment. This lead to further discussion about how much artists should learn about the technologies or skills they work with. Mark Melvin suggested as an example that learning to arc weld for a one of project would not represent an efficient use of an artists time. Tom Schofield suggested that the danger with that can be a lack of awareness of processes at work within the building of something which can feed into the work. Sarah pointed out that this mostly only true in process-based work.
Please post on these issues! This blog is your chance to think about what you want to say before you say it.
1 comment:
Unfortunately I did not attend the seminar but I would like to add my own thoughts on the subject of old technologies vs new and whether or not artists should take ownership of the process of making.
For me the important questions to ask oneself are, why are you making art, why are you doing this and not something else? What do you what to gain from the art making experience? If you are purely after the end product, perhaps for the comercial value then any method of production is justified for the end result. Of course this practise mostly leads to failiure and further resentment of succesful "artists" such as Hirst. On the other hand, is the actual practise, the making, the physicality of mandling material is what drives you forward through the creatice proccess, then of course ownership of the work is vital and if one must learn to mig weld in order to carry an idea through then time, or "the artists time" is immaterial because you are not competing in the commodification of the object, but rather, the time spent is in itself the reward for you endevours.
It is obvious which of these I am interested in myself although I respect any artist who turns their work into a business.
Joe Sallis
Woodwork Technician, Fine Art
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