Mat Van Den Art's Blog

AA SM2/11 Research Methods and Critical Studies Part 2

Posted in "M" Master Seminars by matvandenart on May 9, 2010

MOTIVATION

Che Guevara wrote: The laws of capitalism, which are blind and are invisible to ordinary people, act upon the individual without he or she being aware of it. One sees only the vastness of a seemingly infinite horizon ahead. That is how it is painted by capitalist propagandists who purport to draw a lesson from the example of Rockefeller — whether or not it is true — about the possibilities of individual success. The amount of poverty and suffering required for a Rockefeller to emerge, and the amount of depravity entailed in the accumulation of a fortune of such magnitude, are left out of the picture, and it is not always possible for the popular forces to expose this clearly … It is a contest among wolves. One can win only at the cost of the failure of others. (more…)

20. Glasgow Galleries Trip – Iain Irving

Posted in "M" Master Seminars by matvandenart on May 9, 2010

What is there to say? That is the key in the evolution of the artwork exhibition. The context of place, history, people, medium and materials are the tangible substances of the art exhibition opening the portal of intangible and rolling out the red carpet for the artwork to come and speak to us. Communication, the higher quality of humans which in so many ways distinguishes us from all the other life on earth but in its simplest from still keeps us all the same helps us to understand the hunger of artist to display his/hers work in its most opinion saturated way.

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19. Sculpture at Tyrebagger – Jennifer Clarke

Posted in "M" Master Seminars by matvandenart on May 9, 2010

Being a digital designer, in my view, design is not just about making things. Design is a social, collaborative activity often able to fully engage or even infuse with the audience providing, telling, describing them the social context of the design as artist sees it. However when it comes to producing large freely accessible interaction sculptures as seen at Tyrebagger, art/design production ceases to exist within the creatively unlimited space of design studio.

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17-18. The Uncanny – Alexandra Kokoli

Posted in "M" Master Seminars by matvandenart on May 9, 2010

In his 1919 essay “Das Unheimliche”, Sigmund Freud discusses the concept of the “uncanny”, where something can be familiar, yet foreign at the same time and why it is that certain objects, phenomena and situations arouse in us a feeling of uncanniness, while other, almost similar objects, phenomena and situations, don’t . This cognitive dissonance often leads to an outright rejection of the object, as one would rather reject than rationalize. (more…)

16. Data Visualization – Barbara Hahn and Christine Zimmerman

Posted in "M" Master Seminars by matvandenart on May 8, 2010

“Because in the past transmitter and storage media were in short supply, for a long time we lived outside knowledge. Today, by con­trast, we move in the space of knowledge, in the permanent virtual present of knowledge-satiated spaces, yes, we are inundated with knowledge.”

Michel Serres, Literature and the Exact Sciences, 1988 (more…)

15. Curatorial Practice – Iain Irving

Posted in "M" Master Seminars by matvandenart on May 8, 2010

Curatorial practice is more than showing it is about the creation of intricate psychological encounters. Curation practitioner plays a role of film director where he/she chaoses and ultimately uses the individual actors in the way they best portray curator’s vision. Curator plays a psychological chess with its audience where the artwork becomes a figurine and the exhibition space ultimately becomes chess-board. The audience enters the game just before the last move at the moment where the consternation of all figurines has been set. The ultimate faith of the game is already decided and the victory is in the hands of curator because it was precisely him who decided the position of individual figures to portray his message and satisfy audiences hunger for new experience. (more…)

14. The Astute Generalist & the Undisciplinarians – Geoff Mann

Posted in "M" Master Seminars by matvandenart on May 8, 2010

The question is: Is the discipline/interdiscipline defined by what the past generations was able to achieve with the particular art form or where the next generation could take it?

How would current art world define Leonardo DaVinci’s practice? Would he be framed as a painter, craftsman, philosopher, visionary or even engineer? (more…)

13. Relational Sculpture – Tom O’Sullivan and Joanne Tatham – Not Present at Seminar

Posted in "M" Master Seminars by matvandenart on May 8, 2010

Tom and Joane in the seminar outlined the idea that composition of objects in space can tell a story by objects context, precise positioning, colour and material used based on series of examples of work by Iza Gensekn, Cathy Wilkes and Francis West. (more…)

12. Contextual Review – Iain Irving

Posted in "M" Master Seminars by matvandenart on May 8, 2010

Contextual review is thoroughly explored topic where number of books were published to help us understand research processes in individual disciplines of human activity. Some books suggest visual approach “ The Information Design Handbook”, some deeply academic “The Craft of Research” and with emergence of new technologies some even suggest to use multimedia “Data Flow: Visualising Information in Graphic Design” to best encapsulate the our intellectual processes during the contextual review.

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11. Art in the Interview – Iain Irving

Posted in "M" Master Seminars by matvandenart on May 8, 2010

The works of art resist definition and outclass all descriptions, living its own life, provoking our scrutiny, and inviting our participation in its mysteries. The defiance is ever present in the work of art; yet often its initial strangeness of form, style or theme provokes negative responses or viewer’s indifference. (more…)

9./10. Artist’s writing – Alexandra M. Kokoli

Posted in "M" Master Seminars by matvandenart on January 10, 2010

The works of art resist definition and outclass all descriptions, living its own life, provoking our scrutiny, and inviting our participation in its mysteries. The defiance is ever present in the work of art; yet often its initial strangeness of form, style or theme provokes negative responses or viewer’s indifference.

(more…)

8. Art and Forestry/Anthropoly and Art – Jenny Clarke

Posted in "M" Master Seminars by matvandenart on January 10, 2010

Being a digital designer, it is often necessary in my practice to reproduce various forms of nature in digital world. This past experience allows me to conceive the nature in the different view as most of other people see it. My previous practice enabled me to study nature and its forces and laws in mathematical terms. (more…)

7. Active, Medial, Passive – Giving form to process – Ann Douglas

Posted in "M" Master Seminars by matvandenart on January 10, 2010

Professor Ann Douglas initiated in my mind obvious question; “what is the art, the process or the result?” This question reminds me an artwork located at a German city’s square. The name of the artwork was ‘incognito monument’. There were various protest text written on the bottom side of all pebbles in the middle of the classic period city square. Incognito monument played hide and folly game with the artist himself where the artist was an observer as well as participant. (more…)

6. Asking better questions about quality – Francois Matarasso

Posted in "M" Master Seminars by matvandenart on January 10, 2010

As a reaction to François Matarasso’s seminar based around the quesitions of “asking better questions about quality”, I decided to search for my own understanding of quality. (more…)

5. Examining Art Spaces – Iain Irving

Posted in "M" Master Seminars by matvandenart on January 10, 2010

Gallery or whitespace gives anonymity to the surroundings, drawing us from our external world into the universal, anonymous and partially homogenous environment where the viewer is supposed to have the same experience wherever in the world is confronted with the artwork. Necessity to remove the context of the particular place or surroundings in relation to the exposed work of art is essential for enabling successful emotional communication between the author and the audience. (more…)

4. Context of Place 2 – Group – Iain Irving

Posted in "M" Master Seminars by matvandenart on January 10, 2010

Culture, said one contemporary artist, is not where we come from; it is where we are coming from.

We as human beings living in our own social context performing the everyday roles of citizens, travellers, buyers or workers have to understand our participatory roles in evolutionary processes forming future of social, ecological and economic landscape. (more…)

3. Context of Place1 – Iain Irving

Posted in "M" Master Seminars by matvandenart on January 10, 2010

When we experience the kaleidoscope of daily visual experiences as changing form, design, and composition, it ceases to be meaningless. When we, like the painter, who creates a work of art, endow with significance the forms of our visual experience, we become artists in relation to the visible world about us.

My understanding of place in its context is not what we can experience by our basic senses. It is just a starting point in your own personal mind discovery, reminding us wide palette of feelings from our past experience. (more…)

2. Working in Context/Collaboration – Tom O’Sullivan and Joanne Tatham

Posted in "M" Master Seminars by matvandenart on January 10, 2010

Public art embodies intricate problem involving two way communication between the artist and the audience. The problem of which solution is the most essential for the artwork to function according its public purpose. Difficulty with engaging the communication with the wide audience, especially in public spaces, is that most of us look in the world around us in highly selective way. (more…)

1. Research methods – Iain Irving

Posted in "M" Master Seminars by matvandenart on January 10, 2010

Research for purposes of discovery and interpretation of facts with intention to establish social or aesthetic framework for the work of art or design is perceived as the equal partner to the actual artwork development/creation and presentation. Great work of art can not be complete without any of these steps. (more…)