May 2019

Global perspectives in contemporary creative arts.

Doug Burton was going to lead this meeting and he had requested that it be devoted to his lecture and a discussion of work in progress.

The lecture was what made me want to attend because it was to do with what I would be doing very soon which was to enter the world of contemporary creative arts.

Part one: the lecture, main points:

  • Doug had used : Relational aesthetics 1998 by Nicolas Bourriaud. He stressed how post modern practices had rejected modernist ones, and which focused on the skeptical artifice of reality. Whereas Modernism was responding to post war issues regarding cities and mass production, Post Modernism questioned post WW2 politics and reality.
  • We looked at Fritz Lang’s Metropolis and discussed how irrelevant the role of artworks to form imaginary utopian worlds was seen. Instead, the art world focused on ways of living and acting within the existing realities, irrespective of the scale chosen by the artist.
  • In 2009 NB noted the globalised view of the world through industry and globalisation.
  • The 2009 exhibition in Tate Modern showed how artists were trying to grapple with globalised views like Mike Nelson’s Coral Reef.
  • Artists and education were coming together as in ‘the Sisters Academy’; ‘School for a sensuous society’ who tried to learn about how we form relationships with the world we have, how we learn through engagement with the senses, being and being together. Their tenets were Experience; Encounter; Relation; Performance; Activism and Education.
  • We looked at art as an instrument of emancipation and a political tool liberating forms of and art are working together.
  • James Bridle’s work in which he goes through the layers of technical decoration.
  • Gordon Cheung degrades works by the grand masters through an engagement of the material of the digital.
  • Theaster Gates: My labor is my protest. 2012.
  • Boltansky’s 2012: 10 tonnes of clothing.
  • We discussed Frank Ghery’s new project in Dubai 7 how, at the Venice Biennale, artists were protesting against the abuse of labourers in the project.

Part 2: how do we sustain our artistic practice:

  1. Enthusiasm
  2. Support , from Bridge, from Contacts, by formalising critiques.
  3. Investigations: short courses; workshops; gallery visits; books; walks.
  4. Motivation- keep abreast of developments in your field.

Part 3: Peer review: Of interest to me: Barbara Rae – contemporary print maker whose work is exceptional in my view.