|Student name||Susan Gilmore||Student number||301644|
|Course/Module||Professional Practice L3||Assignment number||4|
Sue, you are almost done and ready to exhibit your work now. You have made your selection, produced the works and finished the publicity so continue to promote to a wider audience as much as you can. The main aspect to think about is will the space be right for the curation of the work, will the geometry of the architecture fit the installation and presentation of the work, and will the space be too cramped, disorganised or empty? Make sure you try various ways of displaying and taking photographs so you are happy with the most appropriate set up (with and without plants). And make sure the works have a dialogue with one another so they look coherent, lead the viewer round and work as a collection.
I understand your aim is to go for the Creative Arts Degree and that you plan to submit your work for assessment at the end of this course. From the work you have shown in this assignment, and providing you commit yourself to the course, I suggest that you are likely to be successful in the assessment.
Feedback on assignment Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity
Final set of paintings- there seems to be quite a lot of paintings for selection. Are you planning on putting them all in the exhibition? The set of ‘That’s just how it is….’ Seems a little receptive. Correct me if I’m wrong but do they extend beyond the set of 8? If so and if you are running out of space, consider eliminating a couple or having them away from the set of 8.
Although the images you sent on your document are quite small to judge, the whole set of paintings are a good collection which work well together without one dominating the other. However, the college of photos (a time of absence). Looks quite busy and for it’s size, do you need two and will they communicate the process? Also consider where you will put the sculptural works. You don’t want them looking like an after-thought as there are only a few and may seem disjointed with the larger 2D works. Really think about the dialogues of all the works in one space, with one leading to the other and allowing the viewer to be led through them. Try and match the quality of movement within your work with the actual curation of the works; let it flow.
You have done some useful working outs and referred to valid sources to calculate the price of works. The prices you have put the selected work at are fine and ready to be confirmed.
Written statement of pieces selected-
‘That’s just how it is…’- I like the thought behind hanging them all differently to fit in with the mismatch nature of them. As mentioned do you need the older 3?
Trace drawings and associated floor works- think about how the ‘fragility and the liminal space between something and nothing’ could be represented within the space and other works.
No 2 (Group of 8)- I like your justification of how to install these and how the audience may see them as a puzzle. The grid effect- will that concur with the architecture of the space? Also the details of the gaps in-between will determine how long the audience will stare and take in the work.
Development of exhibition plan- you have thought about details and revisited decisions again which has been useful as you now have the selection to exhibit. Good idea to go to the space and consider plants, which may be too much and may evoke a confused concept to the viewer. The signage is also a good idea, as not everyone will read small text and information leaflets. The publicity material seems standardised and all work well together for its aesthetics and as a collection. Having said that the works might be too tight in the space, but from your model, it looks quite spacious.
Learning Logs/ written work/ understanding of theory
Your contextual research and commentary is much more evident now and relevant. You have read and understood the various texts and went beyond simple commentary by linking into your own work. You have considered audience and how they may view your work by reading the chapter relevant to it. Also, keep in mind that by debating and referring to contextual essays, it will broaden your mind to alternative solutions to your own work and its curation. For example, Rreading ‘Critical Spatial Practice: Curating, Editing, Writing’ has been beneficial for you to consider your own materiality within a space.
Yorkshire Sculpture Park- art works set in situ and which work with and without nature. Look at the evolvement of how works change in the climate, particularly the pieces of work by David Nash.
Also look into Andy Goldsworth’s work in the main gallery from 2008. He has works situated around the park so it’s an interesting comparison between how work is viewed or how its context changes from the interior to the exterior display methods.
Pointers for the next assignment
Make sure you are documenting the exhibition well. As well as the obvious photographic evidence, video the works to monitor the attendance of the audience but also which artwork people stand in front of the most. Think about some questions you want to answer and rather than the you, artist asking them, get someone else to interview viewers so you have more of an objective and untied point of view. Also, interview and talk to various roles of people, from gallery owners to fellow artists to those who are nuances to art. Then you will have a range of opinions and insights.
|Tutor name:||Diana Ali|
|Next assignment due||20/07/16|