Th Reflective Practioner

THE REFLECTIVE PRACTIONER – Video Notes

Sullivan – Art practises as research.

Contemporary Artists reflecting on their work, strategies for developing a reflective practice.

Reflexivity – Reviewing how you think, impact of your reflection, sense of turning back on yourself.

Donald Schon - Reflective Practioner – Learning at work/ Thinking at Action.

Michael Arrow – Professional Reflexive.

Reflexive – Thinking about your thinking, a learning Practioner.

Look at your work and the influences and where your work stands with other artists.

“Reflective practice is a kind of research activity that uses different methods to work against existing theories and practices and offers the possibilities of seeing things from new perspectives.” Sullivan (2010).

ARTISTS

James Aldridge – Personal experience of drawing birds as a child, this personal experience has been reintroduced into his work as an adult. Other areas of interest can be brought into your art work.

TRACEY EMIN

Emin uses her own experiences her world into the Art, for example ripped up 1995.Her work is confessional art, her own history.

Most artists need to distance themselves from personal experience to balance the tension, the work can be personal, but the process needs to be of importance – the artwork is separate. In doing this creating this critical distance – Objectivity.

THE FASTER WE MOVE THE LESS WE SEE.

CHRISTIANE BAUMGARTNER
Aeroplane piece –Name? This piece was copied transcribed and took 10 months to create, old fashioned way of creating, close up the viewer could see the grain but not the image, once the viewer took a step back the image could be viewed as a whole.

ROSE WYLIE – Belgium Painting: Cloven Shoes – She paints very large images this piece had a profound effect on Emily Bowle – once she removed her attractive strokes what would be left?

So how do we prevent ourselves from become slick? How do we prevent ourselves from recycling our visual language or styles because it becomes second nature.

EXHIBITION – WHAT WITH WHAT – THOMAS ERBEN GALLERY NEW WORK 2010

Exposure missing in the work, feelings of frustration a motivating force, so letting go, fresh connections creating a new response – unconstructive habits.

Looking at the work of different artists

PAULO VERONESE – SCORN

JOHN SKINNER – SCORN

He created transcripts , and studied the pieces in depth – he attempted a large painting that was a complete disaster, so he concentrated on the two females their heads.

The large canvas he paid homage to Helen Chadwick, because he respected her and was envious of her work -  not a good reaction to the piece

Look at Vanitas II – 1986 by Helen Chadwick.

STUDIO

What is your studio for?

My studio is my bedroom which should be a place of rest instead it has become a place that is subdivided into compartments, one area is for painting, another area is for the hours spent on the computer, the bed is to read late into the night attempting to through all the MA stuff. It’s a horribly trying place, however the window to the outside world connects my work, and society happening is recorded and used.      

Rachel Whiteread  – thinking place.

Studio Place – Give an identity, is it social? Contact with other artists.

The studio place has no time to be social it is given over to the next task, the only contact I have with other artists is through the internet.

Place that creates a story. – The window has opened a place to the outside where there is an on-going story that relays a snap shot of people lives as they pass my house.  

Audit – What do I do in my Studio Space?

Paint, Draw, Read, Sleep, Drink, Look out at the window, Get dressed, Undressed, Computer for work/MA and for pleasure and many everyday things through the internet.

Actually once I looked at what I actually do in this space, I have found comfort, and it is a useful place and actually what I need to do is to reorganise and create more of a study area. The lighting is good and it is a place that is homely and safe, furthermore it is an area that connects my art and to my home life in regards to my daughter.

Surveying Cycle

                                                  Experience

                    Process                                              Observation

          Plans/processes                                         

                                                                      Reflection

                              Rethink                Evaluate

Reflecting on your own work – Observe and Reflect

Contemplate from different perspectives

Paying it close attention

Use of different materials

Write about the essentials – descriptive writing or oral

Ask questions

Different environment – Place the work next to other pieces

Create an imagine dialogue with the work

Evaluate

How do you know when it is finished?

How do you know if it works?

Is it intuitive? – Sense of righteousness? Is it intentially executed

Outside the Studio

Reflective

Understand the field – Fine Art , Western Creation?

Artists reveal, evoke, cultural, philosophical, definition, destination.

Who does Fine Art?

Artists, Assistants, Experts, Participants

Products of Fine Art.

Galleries, public places, public spaces, clothing, postcards,

Evaluated – Art world, commentary, magazines, gallery sales, education, community.

The difference between Art and Crafts

Craft techniques

Markets/ Different Audiences

Fine Art History and Theory

Art does not solve social issues however highlights issues

Art and medicine – concerns with healing, wellbeing intention to do good.  Artistry of Science

Anthropology

Cultural meaning in society

You need to be open to multiple interpretations of artworks

Debate and discuss processes and the meanings that come out of them, Consider a group or online opportunities.

Question the contexts in which art is made – the impact

Beware of artistic, social, political, educational and cultural aspect.

Recognise and acknowledge whose work you are building on.

Be transparent in your methods and open about your methodology.

Be rigorous in your recording

Be prepared to justify your methods

Don’t confuse effort and quantity with quality

Be careful of using theory to justify art work

Be modest in your claims

Most importantly don’t lose your curiosity or your courage.