This studio is concerned in particular with the language of painting and sculpture: how we can apply them to better understand emerging questions relating to immersive art practices, movement (on or off screen) and where the boundaries lie in our definition of objects. Where do the boundaries lie in painting? From the traditional rectangular stretcher painting to wherever this tradition can lead us.
Form here is correctness. Style, choreography. Performance. Completion. Artistic intention. The studio aims to ask lots of questions and set explicit assignments: critical and ideological assignments; technical and practical ones - all assignments that require negotiation. How do you negotiate making an artwork that then becomes a critical element within a developing body of work? How are specific artistic materials selected by which an artwork can be negotiated? What is thinking through making, exactly? What can you do with photography as a radical and relevant tool within your practice? A tool through which to create outward-facing professional practice? What can you do with photography as a radical and relevant tool within your practice? A tool through which to create outward facing professional practice? Web presence/presentations portfolio? Body of work? Consider the photographic representation of your work as the work itself as sometimes a stepping stone and perhaps a complete work, whether archival, document, negotiating form.
We will also use the photography workshops’ darkrooms as well as all other areas of production and workshops provided by Cass works. This studio will propose where you locate the potential languages of photography in the curation of making art works: the language of production and manufacture, using thinking which develops through actual making. The time that making requires, the strategies and deliberations chosen and the steps into unguaranteed outcomes that you will negotiate.
Negotiating form refers to the changes and detours taken from an initial spark or idea through research testing framing re-framing and resolving artworks as complete, in series, provisional art. We will pose the question of what is a practice and what is a body of work. How does this operate as a contemporary proposition, how do you address and value the necessary professional outward-facing practices, web presence, exhibition making documentation and archival work. Questions about seriality in making art works - individual or unique works.
To keep you continuously in mind of the professional practice and dialogues expected within this studio you will work in association with artists associated with the school via guest speakers, open field artists and Curators. The studio will engage students with their work throughout the year as they build a new body of work and negotiate practice. There will be key teaching and learning events which may even involve them making some collaborative works/edition multiples Tutorial support will concentrate upon dialogues which come to terms with making conditions essential to particular subjects, genres of practice and criticality. Technical negotiation is not the work of a technician but of a particular mindset strategically organised to enable physical manifestations and resolutions of concepts and ambitions. To enable the making to be the starting point of negotiation without fear. Key texts will run in parallel to the studio practices as they emerge, both motivating and questioning making and the construction of meaning.
Image: Outskirts (2009). Photo credit: Pete Fillingham
Studio Art 01: Negotiating Form
Andrea Medjesi-Jones and Pete Fillingham
This studio is about painting and sculpture. The painter Ad Reinhardt once famously quipped that “sculpture is something you bump into when you back up to look at a painting”. Those were the days when medium-specificity counted. These days, another art medium isn’t really a nuisance like this anymore. So what is painting, now exactly? And what is sculpture now, too? We shall question new tendencies in painting and sculpture and discover and research what we mean by these categories.
Studio Art 02: Archive Fever
Patrick Ward and Galia Kollectiv
This studio explores the archive – the means by which historical knowledge and forms of remembrance are accumulated, stored and recovered – through the ways that it has been explored, subverted and deconstructed by artists from the early 20th century to the present.
Studio Art 03: Unstable Assembly
Rosemarie McGoldrick and Jonathan Whitehall
Unstable Assembly is a studio that looks at art and the world around us – how art fits in among the important stuff that increasingly impacts on the way we live – the environment, other animals, science and the great outdoors. If you are interested in learning how to push your art practice into the open, into wide public space, this is the studio for you.
Studio Photo 04: The Encountered Sign
James Russell Cant and Ania Dabrowska
Increasingly, progressive commercial photography agents work with photographers and artists whose practice is at home in the gallery as it is in the applied sector. This studio aims directly at that growing elision, too – building on the ideas of affect and the encountered sign.
Studio Photo 05: Post-Truth. Narrating the (Un)Real
Paola Leonardi and Heather McDonough
Presenting the photographer’s role as both artist, storyteller and witness of our times, this studio explores the construction of photographic narratives that reflect changes in and challenges to our society. In this studio, photography can be a tool to protest stereotypes, a method of testimony to events, a practice to construct fantasies or a way to engage with media trends.