what skills do you have?

Well? can you paint? (no)...how can you call yourself a master of "fine art" then?

Today, a lovely old cantankerous fart dropped into a diatribe about the whole MFA show, in my room..(I think I tipped him over the edge). Swearing and ranting about how useless we all were (no skills, you see!).

Quite an entertaining exchange of "views". His being rooted firmly in an historical idea of what art should be (and how "conceptual art" is : pretentious, useless, a waste of space).

quite an angry man (in his 70's)....he said he used to teach at gray's...painting, of course....the art of kings (well, sorry, the "only" art.)

It's quite annoying to think that this man assumes that if you can't paint, you hate painting...or dismiss it, because it's "not conceptual".

needless to say, I gave up trying to explain the finer points of "open mindedness" (even with the help of my good friend Sinky)...so we left him ranting (quite a lot of "fuck"s from a septegenarian.

anyway, we heard from the Janitor that he wanted to make a complaint at the lack of skills to the head of school...I wish Stewart MacDonald was there to take that "meeting".

anyway...let that be a lesson to you: art, it's for showing off how you can reproduce a landscape AND NOTHING ELSE...got that? (a year in UNI learning how to think outside the box, and all I needed was that lesson to "keep me right". ho ho.

It's all over!

Well....

I passed!
Sorry for the lack of postings - I'd knuckled down and focused on the final 4 weeks of dissertation and studio practice...I feel bad, no documentation (as I was too busy ?!)...

needless to say, I'd set the show up for my Viva last monday (27th August) and spoke to the wonderful and reassuring Simon Wilmoth from Norwich UNI...what a great chat, even if I did talk at 10000000 miles an hour! I'd also had a second presentation / viva with Iain Irving, Jim Buckley and John Pengelly - which seemed easier than the first...because I'd had the practice the day before, and knew what I wanted to say? or because I knew these guys and felt comfortable speaking to them?

I am having a meeting with Iain this week, to find out the "grades" (not that they matter, a pass is a pass!)

So, the show was last Firday (31st August) and it was amazing...it flew past, talking about the work all night...on many levels. Several interesting conversations, and an amazing cross conversation theme, the common story of finding old newspapers, and being fascinated by them...


The "torrent" installation was flattened on the night, kids did exactly what I thought they would, fly on in and play with the paper...wheras the austere and conditioned adults hardly even walked on the path given!

During the day, I had my photo taken for the P&J, Aberdeen Inependent and internal RGU press...and I got my pic and story in the P&J on saturday...so that's cool.

I just hope some galleries come see the show...it'd be a shame if they didn't.

I'll drop in now and again, uploading "pearls of wisdom"...
I need to document the making of the hearing aid for a shed (currently in production with Malcom Michie - gray's technician)...

and the NEOS week (in 2 weeks time).

lots to do.

rip it up and start again...

I’ve readdressed the chapter three problem, I’ve deleted many aspects of “the plan” to talk about the work (step by step explanation of individual works). I’ve scrapped it all, and need to think more about how my concepts and ideas work within the context I’ve identified. I know they do, I feel a sense of connection with the works of Hirschhorn and Tyson…I know I am addressing some of the issues they do, but on a shallower level (for now). It’s my need to define my practice, to become comfortable with my arsenal of visual vocabulary…all I have to do, is put that into words, make it sounds like I am convincing, and conclude on it…simple!

Stuck the Herald to the full stop

reflective reflection...reflects.(balls)

Drawing on previous works and reflection on newer works for the dissertation. It feels clunky and a bit trite…it’s quite hard talking about the work…and I think it’s too prescriptive…

Stuck P&J to full stop

chapter 3 staarted (my Practice)

Started on chapter three – my work and practice, in relation to others…and it was all shite. I deleted 2000 words. I can see myself falling into the tarp of describing the work, and not the concepts and ideas that my work addresses. I start to get a bit worried…I know this is my weakness, my inability to speak about the work “ambiguously”, I feel the need to satisfy the lamen in me : “tell us how you made it” (not “why” you made it…) I think that’s the simple difference in my failing. It’s a case of talking about wy I made it…not how.

I stuck the daily mirror to the Full Stop, and started thinking about how the inky hands part of the work could function on its own…I have been formulating ideas about video work, based on “transference” – passing information from one place to another. The ramifications or implications of transfer - perhaps some comparison with disease? Or random acts of kindness…I like the idea of the indiscriminate neutrality of possibility, for good or bad, or “nothing”…

Stuck Daily Mirror to Full Stop

Ganahl reflection

Writing about Rainer Ganahl. One Annoying thing about Ganahl is…his website is down! Just when I need to collate images and texts from him. I’ve had to rely upon third party sources! (which are hard to find!). I fear Ganahl is in the throws of updating his site, for the Venice biennale…must keep checking.

I “completed” chapter two, and started writing conclusions about all the artists (Tyson, Du, Mik, Hirschhorn, Patterson…

Stuck the n*ws of the w*rld to the Full Stop

chapter 2 started

Started Chapter two – artists dealing with information / media criticality
Thomas Hirschhorn & Aernout Mik

Stuck the guardian to the Full Stop

full on writing - dissertation mode

I’ve been writing like a fury on the dissertation, so I’ve not had time to write my thoughts in blog form too…(should I just cut n paste?) Anyway…I’ve completed chapter one. (Identifying areas of interest in media criticism to create artistic activity within my own practice.)

I’m focusing entirely on the dissertation over the next few days, I need to get it finished by Wednesday, so I can show Iain, when he gets back. Hopefully it won’t be too late to change “much”. I have also identified I need to check the content with people, so I’ve ear marked Joan Ingram (fifth business) and Chloe Reith (studious ex student…and Gabi’s sister)

Stuck Daily record to Full Stop

Last crit with Steve Hollingsworth

It’s the last crit with Steve today…I am nervous, but also confident about talking about the work (well, more so than I have been in the past!). We start by looking at the trumpet, I try to refer back to what Jo and Tom had said (mostly disappointment of its obviousness), and Steve concurs. He thinks it is too obvious, too “that’s it”. A visual punch line. After painting it too (which I instantly thought derived form the relevance of the newspaper covers), Steve comments that even the black and red gave it the school kids joke, what’s black and white and re(a)d all over? – to which I completely agree. The tribalism, brutal broadcast and clunkiness of it just turns Steve off from it, but, the more I think about it, the more it’s true. It’s a “fun” work, but nothing more. If the MFA is here to eek out deeper meaning, considered thought and rigorous critical questioning of ideas and observations, this doesn’t do it. The more I think about it, the more I get the feeling that I couldn’t fit into this world…sometimes I get the feeling that I don’t belong, that I am not clever enough to operate at the level that Steve, Jo & Tom do…who knows what time can do. Susie and I have a discussion later, about that very point, what level do we want to operate on? I would be happy to create cutting edge, stimulating and intelligent art – a rigorous form of scientific questioning without the science. I know what is expected of me, but I just don’ think I am deep enough (yet?)…and that’s depressing.

Steve does think I have several interesting works, and he almost gets excited about certain elements (my inky hands from the “full stop” for instance)…but again, It’s my inability to see the potential of “fascinating” work (from Steve’s perspective) to my own simpler, basic excitement from engaging objects – which to him are vacuous and banal. It’s always going to be the struggle, think of the critics, or do it for myself…but, to know that I want to contribute stimulating, new thought through my developing practice. Perhaps doing the masters without a practice was foolish, but it is also flattering to know that I have operated at this level, with my peers (practitioners for 5 – 20 years) and been able to keep up, to contribute and raise awareness and new ideas, within the student context of the course…it is this “extra mile” that the tutors bring, this knowledge of the “outside world” – it’s not good enough to “just get a masters”, it’s that knowledge of taking my ideas and the execution of them, into the “big bad world” of conceptual art, and the delightful critics that inhabit it. Again, this all boils down to conviction and confidence in my own work…which I do have, I do know that it is what I am supposed to do, I make things to question my experience, and awareness of the world. The simplest answer to getting better…is to keep at it. Read more, become sophisticated with the use of language, refuse to describe and prescribe, explore the ambiguous language that is required to explain work, without shutting it down, restricting possible discourse and “out of the box” though the work can (or should) bring.

That was evident, when I showed Steve my “doublePaper” video. I started talking “literally” about its origin, the reaction to fixed phone competition. This in itself limits the scope of the exploration of the work – it can’t be anything else. I make a mental note to myself, when I see Iain next, I will show him this work, (not referring to Steve’s comments) and try and talk about it ambiguously, I will refuse to talk about its origins, I will only talk of the ideas – information, futility, unrealities, competition, repetition and stupidity. I should work on the themes, I should write a paragraph or two on each of the works, and re-assess my “obviousness”. I will send them to Steve (even though he has no obligation to reply (to which he never does anyway!) – but I will specifically ask him for feedback)…see where that takes me.

Anyway – back to the work. “My problem” and “reader” stimulate Steve. I can see that these works (because of their “honest” – or heartfelt roots) strike a chord with people. Steve does see the poetic in the form, and ambiguity. He asks what I am writing, and I say “are you sure you want to know?” (Knowing full well he’ll talk negatively of it!)…so, I show him the page, and he says (predictably) “Oh, that’s shut it down for me” (hence the reason why I would never show the lines next to the video). I pre-empt this reaction, so I feel better for it – knowing the “pitfalls” of shutting down a work, is always a good thing! I did say to Steve, “I knew you’d say that” and we laugh. The wonderful observation (it’s so obvious, once Steve says it), was that he liked the relationship between input and output (the writing and reading). It is this feedback loop which interests Steve so much, the poetry of introspection – why is he reading? What is he reading? What is he thinking when he is reading? Is he writing in reflection to the reading? Is he reading in reflection to the writing? The nakedness of “transmitting” is an interesting point Steve raises, the idea that when I write, I am giving something away of myself, I am exposing my thoughts to paper – whereas the act of reading other people’s words, is an absorption, a way of “clothing” my opinion, forming opinions form others words, is (metaphorically) like dressing my opinions with bought ideas. I like this observation and will explore that further.

The full stop takes a beating too…on seeing it, I don’t think the scale is impressive enough for steve, or the idea has been watered down, it’s turned into a pointless diary, the way I’d talked to Steve about it 3 weeks ago, was an impressive ball of papers – chaotic, massive and oppressive…here, we have a quaint little beachball size of one paper a day (so what). Again, I see his point about the singularity of it – that is, it’s singular “point” to make. It has become a chore, as I get nothing from it now (other than the opportunity to get black hands, to which steve is interested – the poetry of absorbed / transferred information – the idea that information can exist out with a format, but in a diluted, confused and chaotic state – the ink “used” to say something, now it’s “dirt” or something to clean up, remove. This rings true with my want to remove the ink from a paper, and re-use the ink to write my own messages. Perhaps this is the connection between Reading / Writing (video). The paper I read could then be removed of ink, and I re-draw / re-create the paper in my own hand, with the ink from the original, drawn back onto the blank paper…I think there is a lot of mileage in this.

To start thinking about the show, I need to strip out what is detritus, “sketches” as I aptly described some of the objects and works in the room (which Steve picks up on). I think about layouts, and content. The relationship between the possible works. So far, I can “see” that the video works will play a large part in the show. Outside / Inside (back to back /between the wall) will be the reading / writing video works. I like the relationship of “public and private” the work offers, the hall = public space, my room = private, “inner sanctum”. We talk about a sea of newspapers. I had noted that when I have newspapers strewn around, the sense that something is present within this form interests me. Steve talks of a way of linking the amount of papers with censorship, as well as a reduction of the participant (viewer) with my previously explored digital abstraction. The sense that we are all data, we are all information, relating to each other. (again, I need to fine tune the language / way I talk about the work). I think the remaining time at uni (after dissertation) is to create the show (quickly), but then rally work on the reflective / vocabulary. I should practice the “patter”, as this is by far the weakest aspect of me creating “fine art”. I can come up with the ideas, I can execute them technically, but I let it all down by describing it. I kill it by telling people what to think. I might as well be a columnist in the Sun.

It’s sad to think that just as I am starting to understand, and “play” with Steve, our time draws to an end together. I will miss him, for all the hard times and feeling small because of his cutting crits, I certainly have learned a lot from him – his ability to draw the best out of me, is encouraging and helpful.
Despite Steve’s comments on the ball, I feel I must complete what I had started – besides the opportunity to generate the hand / ink shots, I need to complete it for its own integrity -for my integrity. I get a P&J from Gabi, but didn’t stick it to the ball today…a cheat, two tomorrow. (Integrity?!)

Keith Tyson

I’ve completed the intro and “chapter one” (overview of media within art). I have also made a fair dent in writing about Keith Tyson and started on Simon Patterson’s works. I am exploring their methods of questioning – the areas in which they practice, I have taken the tack that they are exploring pre-conceived notions, whereas Tyson explores the preconception that we (as a general public) see science as impenetrable and presents us with ideas and illustrations of scientific endeavour, with an ambiguous and nondescript way. It is this exploration of information – conceptual, abstract and seemingly incomprehensible which rules our lives (unseen) but giving us “laypeople” a possible entry level, to start to comprehend quantum physics, the nature of atoms, to complexities of scale (micro to macro). I also explore his sense of play, a humorous touch to his works, which again strengthen his position as a conduit, an avatar for us to hold hands with – to take us to places where we never imagined going. His sense of ridicule (or the ridiculous) run in comparison with Hirschhorn, but Hirschhorn’s sense of humour is (how can I say this?) more serious. His sense of irony, or black humour is more evident than Tyson’s sense of Beano presentation. Cartoon style graphics, sculptures straight out of mad scientists lairs area all in Tyson’s vocabulary, but with the sense of humour comes a sense of responsibility – to tell the truth…well, be honest. His honesty shines through with conviction – listening to snippets of an interview on the BBC, he speaks with a down to earth style, a simplicity, but alluding to an understanding, or perception of the complexity he questions – yet juxtaposed with the sense of never being able to “fully know”. I love his sense of vastness; he openly admits to the open, unrestricted creation of work, not tying his practice down to one form, sculpture, or painting…
“I feel sorry for the person who has to put it down in one paragraph. I couldn’t. That’s why I’m making all these different things” and
“I want to find the right form to manifest the idea. It is purposeful to give them massive stylistic diversity”
Reading about Tyson gives me strength to be who I am, and make the work I do – as long as I do it with conviction, who’s to say “you are wrong” if you can convince people of your intentions? – there are no rights and wrongs in art, the only worries are, if the work is uninteresting, or dishonest, “taking the piss” (in lay speak).
I stick the Independent onto the Full Stop today…but forget to take a photo of the paper “before”…and I’ve found that buying one a day after, from them costs £5.99 (Bastards)

non eventful day - losing energy

Creaking this morning – intro slowing down…I need to “just be happy” about writing (forget about reviewing as I go, I think that’s counter productive) – just get stuff down, and move with it. I don’t have the time to piss around being moody. Susie takes me into uni, but it’s a distraction (I paste a sun onto the full stop) and try to think about writing some dissertation, but I’ve forgotten the power cable for the laptop (dong). And when I start to dip into programming the “speech bubble” stuff, Susie is up for going home (fair do’s). So, not such a good day for me today.

I was going to write some dissertation tonight, but I have to fix ADIL website and create illustrations (in Photoshop) for Gabi’s vignette’s for Elaine Manley’s book…so that’s today knocked on the head.

I have a chuckle, "stripey" (the local troll) has come back! he's posted a link to youTube - a nathan barley extract! (It's nice to know that I've rattled his cage so much, he's been scouring the web for a "retort" for 3 days now... ho ho. I am still playing (I should just ignore it), but the more he writes, the funnier I find it. It's interesting that someone who portains to be "an intellectual" has absolutly no time to expend thought, or even presume that I just make this "shit" up - and that I couldn't possibly have any research (or reason) as to why I should make anything that's "supposed to be art" (does he like still lives?)...it's all tongue in cheek, I send him a private mail saying "you love it really, don't you? I know you do! - I think you are funny, seriously!"...that should rattle his cage some more...gotta love the internet, and the fun it can provide. I was thinking of writing some reply like "I've stopped making art...because I am rubbish at it. Thanks to Stripey for pointing this out - I've been a fool...I am so ashamed" (and post a picture of me and a spotted knapp sack ....walking away..."boo hoo")... ho ho...but, that'd give him a hardon, as I'd be expending too much energy on his sad little mission to further trolling in Aberdeen Music dot com.

Writing...writing...

Full steam ahead with the dissertation. I’ve really started to fill in the blanks, when it comes to blocking in the previous dissertation structure. I’ve still been looking at internet sites for quotes from Hirschhorn & Ganahl and general facts / quotes about news / media stats.

I’ve started to know what is missing (quote / reference wise) from the intro, as I write, I know the areas I want to talk about, and find facts (quick searches on google / bbc etc) to justify my position – I’ve had these ideas bubbling in the back ground, formulating and distilling in my head over the last few weeks, but it is on;y now that I am “forming” them into words, do I see the areas which need backup and corroboration to back up my points.

One thing I am slightly worried about, is my intro rambles…even though I’ve structured it previously, I feel it’s getting a bit too “art history” in places, but, I’ll write it all (all three chapters, possibly the intro (again) based on the “total” writing, and a form of conclusion – edit and review (till I’ve run out of time!). I’ve got 17 “full days” to go, but I have to account for creating the “newspaper” layout and printing etc (if I do run out of time…it’ll be a boring old print out, and I’ll have to explain). I am planning on finishing the writing this week (Friday / Saturday) – review on Sunday / Monday (with Iain, if he’s back). I might send it to Joan Ingram, but It’s getting too tight to expect her to read, review and mark up, for me to then react and execute my idea of turning it into a newspaper format…(I still have to experiment with the newsprint through the printer….) so much to do! (I should put aside any “creative” treats and just get on with writing now). I’m aiming for a pass, but some form of “good mark” would be lovely, and make me believe more that I can work to a standard worthy of “good masters” level…

I stick the Daily Record to the Full Stop.

upload video ideas to youTube

More internet research to find specific media criticality in fine art : several gems, to which I have created a word doc of NAMES, URLS and QUOTES – all for inclusion and reflection within the dissertation. – I am thin on the ground with “general media criticism” (as a general area of interest AND fine art specific) – but find several excellent sites (http://www.transparencynow.com ) being one such site and (http://www.criticism.com) is another excellent, yet condensed site. Some excellent writing and major point to reflect upon.


I have also uploaded 2 of my video experiments to YouTube (www.youTube.com/lepeep) - I have also advertised their locations on Aberdeen music & myspace. I’ll keep you posted as to any comments / reactions. One “instant” feedback I got from a fellow AB music user was : “Woah, the double paper one played with my mind. Good stuff man!”. Another interesting comment, was from the local AB music troll “stripey” (I fear I give him some ego boosting airtime just mentioning him!), but –

“Any remnant of respect for you which I may have been harbouring has been destroyed, you're a worthless piece of trash and I'm not even going to bother making any nathan barley references because these bullshit videos speak for themselves.”

I like the fact he’s taken the time to look at them (!), and the last part : “…videos speak for themselves” (yip, cleverly taken out of context…I feel like a movie poster writer already!) is certainly what I am looking for – if an artistic video can function on its own “speak for itself”, I think that’s a strong piece of work! It’s disappointing, but also very interesting that he is a Chris Morris fan (referencing Charlie Brooker & Morris’s “Nathan Barley” – the bastion of art wank embodied in a channel 4 “watered down” version of the “tv go home” (ficticious episode) “cunt”. It seems that good old Stripey does not get the irony of media criticism in an artistic context (Brass Eye, the Day today) – perhaps it is because that these programs are a more obvious form of criticism, genius and subtle (and boldly brutal too) that “fine art” doesn’t cut the mustard with him, I should ask if he thinks any performance / installation / conceptual art is “any good” but – he is a “hater”, so I take everything he types with a pinch of salt, so I reply with “thanks for checking out the videos!” – Trolls are like annoying kids, I should just ignore them and they go away, but sometimes it’s fun to play with them.

I stick the Scotland on Sunday to the Full Stop.

a structure I am happy with...for now

Definitive action on structuring and forming a refined and focused direction for my dissertation. : the plan (today):

Structure of Dissertation – paragraph by paragraph
By Philip Thompson – MFA 2007

Abstract
Overall approach and argument to special study in one paragraph.

Introduction / overview
Breakdown of all 3 chapters in condensed form. + Allusion to conclusion.
Chapter 1 – the Media in Art
(Sprinkle artistic relevant quotes / references throughout chapter 1 – make it pertinent to artistic questioning and practice)

Overview / intro to chapter (media in art)
The interest in the media, not the news stories.

Confused state when experiencing news – why?
Introduction to Questionnaire
Evidence from Questionnaires (various quotes)
My position (experience of watching / reading news)

Bias opinions – Left to right wing reportage
Spectrum of Bias (celebrated bias)
Neutral position, does it exist?

“Scope” of news – personal to global
Personal 1st hand experience
Levels of trust as scope grows
Bias shapes trust of facts (for and against)

Devices of dissemination – how information is spread
Newspaper
TV
Internet

Assimilation of media – turning the tables on disinformation (using it for artistic practice)
Newpaper [sic] art / reaction
TV art / reaction
Internet art / reaction

Conclusion to chapter 1

Artists Dealing in Truth / Politic / Information / Technology
1. General to the specific (artistic practices) overview

2. General questioning of information
2a Keith Tyson - http://www.bbc.co.uk/dna/collective/A3229373
2b Simon Patterson – the great bear
2c Adrian Piper – video installations – talking heads (racism)
http://query.nytimes.com/gst/fullpage.html?res=9C0CE5DE1139F935A15753C1A966958260&sec=&spon=&pagewanted=print
2d Rafael Lozano-Hemmer – Interactive Surveillance


3. Media Specific critical questioning in artistic practice
3a Wang Du – Time tunnel http://www.balticmill.com/whatsOn/past/ExhibitionDetail.php?exhibID=47
3b Thomas Hirschhorn - http://www.youtube.com/watch?v=nsTn7CMS1aQ
3c Aernout Mik – Shifting Shifting
3d Rainer Ganahl – CNN / American position
3e Chris Morris / Armando Ianucci – http://www.cookdandbombd.co.uk/

Chapter 2 conclusions
1. Range of questioning pros and cons
2. General / non media specific questioning (reasons for inclusion / relfection)
a. Tyson – general observations
b. Patterson – graphical relevance
c. Adrian Piper – political but not media critical
d. Hemmer – Scope of “media”
3. An identification of a contextual rich community, critiquing the media within their artistic practice.
a. Wang Du – confusion and worldly scope
b. Hirschhorn – overload and confusion
c. Mik – realistic / unrealistic comparisons
d. Ganahl – internet savvy / conduit to USA and Iraq
e. Morris – humour and satire to question news / larger audience(?)
4. General observations - Confidence to ask, but not answer questions regarding news / media criticality

My Practice
(Each dissection of my work MUST include a contextual reference to other artists work.)
1. Reiteration of “confused” position – how & why this makes me question the media (and experience as a whole).

2. Exploration of design and fine art skills as “an arsenal” of techniques to question and convey my practice.

3. General works questioning data / fact / information
“Iterative digital decay ” – exploration of subtle change leading to drastic alteration of original input.
“You and I” – abstraction of data
“I don’t have a dream” – abstraction / simplification of language

4. Specific Media Critical works
“Full Stop” – Newspaper criticality
(reference “newpaper” background / relevance)
“speech bubbles” – Forced opinion / paper & internet (static & ephemeral)
“Herald” – Brutal simplicity / confusing overloaded inputs (news readers)
“newsFucks” – Clashing oversimplified oppositions

Chapter 3 conclusion
1. That confusion is an interesting breeding ground for ideas creation and work.
2. Crossover of skill sets – design and fine art practice gives my position strength.
3. Generalised approach to understanding leads to specificity in questioning through reflection of practice.
4. Medium and media can produce interesting crossovers and opportunities for investigation, specific to media criticism.

Overall Conclusion
(Each dissection of my work MUST include a contextual reference to other artists work.)

Overall 4 point assessment of “special study”

I stuck the daily mirror onto the Full Stop today.

Playing with paper

One last stand on “doing research” – I don’t think I had enough evidence (looking at internet media critiques), I’ve found several interesting leads in the “edge of art” book (Joline Blais & Jon Ippolito; Thames & Hudson). I’ve explored the following sites:
Adbusters, disinformation, indy media center, interactivists info exchange, mediachannel, subvertise, surveillance camera players and iSee. Some of the sites deal with wider issues than looking at the “media”, but are all intent on questioning how information is collected, and “potentially” used. I was particularly interested in the “hate mail” that the surveillance camera players got. It is a very USA specific defence / attack I encounter, citing “freedom of speech” (on both sides)…quite tiresome arguments (especially if both sides are blind to the Irony of ignoring or attacking the others POV, but quoting the 1st in defence. The whole argument of “trust” within the context of the use of the collated evidence, some people state that they don’t mind (as it has no impact on their lives (currently)) What would happen, when so many civil liberties have been eroded that suddenly the “innocent” finds themselves under suspicion for voting a certain way, or wearing a specific colour? (sounds “stupid” now, but the POTENTIAL is there). Again, the whole question of the “function of the art” comes into play – the general public don’t see art as “useful”, as it does not have to answer the questions it raises – I can see how that would be infuriating to the masses of people who want answers, but for someone else to give it to them – and this ties in with my questioning of trust in the media, essentially that people don’t either have the time or the access to “absolute” information (that is, first hand or 100% credible sources).

Within this space, of confusion, need for trust and the power relationships between disseminating and assimilating information, there lies swathes of scope for artistic interpretation and questioning – something I shall deal with in my dissertation. One of the other factors of the dissertation will be that level of scope – the distance from one person’s intake of “information” and the relevance, or “closeness” to that persons life. I am interested in the levels of where “care” of a story is lost to “interest” (eventually, sickly, turning into “entertainment”)

I also plugged into “google images” the random names of the “winners”, and I (not surprisingly) get quite a few hits back. The likelihood of these people having the same age and residency is miniscule, put putting a “real” face to an “imaginary” (conjured) name, is quite interesting. I think it’ll strengthen my case for creating imaginary dialogues, mixed in with real communications, a web of depict and half truths, the project could be quite exciting, and never ending! (This is where the execution is crucial – a web based, daily document of the project would be essential, but questions of “ethical conduct” (using “real people’s” photographs – in conjunction with an “unreal” person (name, age and town)) would cause problems. Perhaps I could make up “crimewatch-esque” photo-fits of names that have more than 3 images returned? (again, more offshoots, and possibilities).

I head into Gray’s at night (buy a Scotsman, and stick ot to the Full Stop), but I also re-shoot some “playful” footage of me throwing paper into the cone, I play with the code too, using it as a scoop etc. I also try projecting it (“in place” – that is, back at the exact same point it was filmed from), to create a strange ghostlike replay of my actions on the wall, I join in, scooping up paper alongside my projected self, and the mix of reality and projection blurs, I am quite mesmerised being involved in the footage, when “I” pick up papers form the floor, I do to, it’s like some narcissistic game of Simon says. I’ll upload the footage when I capture it.

real winners!

From this list of made up names:
JOCELYN DIMAGGIO aged (24) from Bishopton
KRISTINA KRUSE aged (54) from Binfield
CLARE STOCKER aged (45) from Clacton-on-Sea
JUSTINE MOREHOUSE aged (56) from South Ormsby
CLARENCE CHAMBERS aged (14) from Altnaharra Hotel
LESSIE PATTON aged (71) from Dunamanagh
JACQUELINE ROSS aged (42) from Wareham
AMBER BAUGHMAN aged (57) from Tegryn
HENRIETTA JARMAN aged (16) from Brantham
DAVE HALLIDAY aged (34) from Maentwrog
KRISTI HARTSELL aged (77) from Mentmore
WILLARD COLBURN aged (35) from Croyde Bay
KELLY STOCK aged (16) from Gomshall
SANDRA DELANEY aged (87) from Wootton
JEWEL VILLARREAL aged (59) from Stoke Gabriel
VIVIAN NEW aged (71) from Bishop's Stortford
DEBBIE SAFFORD aged (74) from Sandown
ADRIAN WYATT aged (87) from Belford
LORETTA HARTSOCK aged (59) from Tarbolton
FRANCISCA DORRIS aged (24) from St Mellion
CLYDE SCHWAB aged (45) from Marazion
EMMA GRAVITT aged (20) from Buckland Monachorum
DEIDRE MANION aged (32) from Port Gaverne
RAUL PABON aged (51) from Bubbenhall
DANNY VASSAR aged (11) from Whitney-on-Wye
SUE CHIN aged (82) from Glentham
CHARMAINE AITKEN aged (89) from Fulstow
BILL KELLNER aged (25) from High Hoyland
EVA POSNER aged (57) from Bourton-on-the-Water
MILAGROS PITT aged (48) from Ardgay
MATHEW PRADO aged (16) from Sutton
SUZETTE POMEROY aged (63) from Ansty
TINA LUCIANO aged (81) from Low Lorton
EDUARDO MAXFIELD aged (75) from Lynsted
NORMA WALLS aged (87) from East Cowton
BETSY LUIS aged (84) from Heddon-on-the-Wall
DELLA HOM aged (54) from Port Bannatyne
ABBY OTOOLE aged (46) from East Anstey
LAURI MCLAREN aged (73) from Mealsgate
BRIDGETTE EKLUND aged (65) from Carleen
RAQUEL FARNSWORTH aged (52) from Higham-on-the-Hill
APRIL LAFLEUR aged (16) from Wanborough
JERRI LEFEBVRE aged (55) from Kirby Bellars
CODY MAIN aged (78) from Crowland
MARISSA BLAISDELL aged (42) from West Auckland
KATHLEEN BEJARANO aged (78) from Llandre
RICKY JEFFREY aged (55) from Ebley
FREDA LAROSE aged (67) from Horfield
CHASITY DEROSE aged (39) from Castlewellan
LEONA BARLEY aged (16) from St Monans
FRED WOOLF aged (49) from Trelawnyd
HAROLD GILLARD aged (41) from Ufford
ALTHEA SCAIFE aged (86) from Stanford Bishop

I found 14 "real people" online (google image search).
interesting...these are my new friends...I am going to write about them....when I've got the time, obviously. (after the tenth of August).

They are all winners

My mum and dad come round to baby-sit poppy, while I go into UNI to “write”…but I end up “making” – It’s something I find far more enjoyable and informative…but that’s by the by!

I project my “winners” experiment onto the wall, and let Jonathan, Susie and Mary have a look at it. Jonathan said something like “I wonder what they will spend the money on?…that’s assuming it is money they’ve won”. An interesting point, and probably a very accurate assessment of the expectancy of people these days – when we see “competition” or “winner”, we automatically assume – money. Why else would anyone enter a competition, if not to win money (or the avoidance of spending money (holiday of a life time etc)).We all have the discussion whether these people “could” exist (of course they “could”, the names are all plausible – census derived names = “real” data. Another interesting aspect of the work, is that several of the towns that appear, are automatically linked and talked about by people (Jonathan’s sister lived in one town displayed, Mary spots a town that she visited in her youth, Susie spots a town that was “”the next one down the road” to her villages, where she grew up in England)…This links into my observation of people looking at photographs of themselves in groups, people will most likely focus and comment on their own face – it’s the sense of self and personal reflection / comment that shines through. People feel comforted knowing that they are in this world – a reality check, and the more “cross referencing” and “self awareness” certainly distils the notion of being alive, being “here”. It might well be linked to a selfish drive, to see yourself, before any other possibility – to put everything you see into your own context, see it for your perspective. It is interesting watching Poppy grow, how she is fascinated by her own reflection, we’ve not taught her that – so it must be wired into our brains to “self recognise” before anything else. It also interesting to think that a babies face, is no the first that it sees, it is “mum and dad”, but the selfish drive, seems to override that impulse to “need to see” a parents face, more than its own reflection…Perhaps it is that fascination of seeing from your own eyes, to know that what you see is from your own, unique perspective – and to see a reflection or image of yourself in a different position strikes the brain as the ultimate dichotomy. The study of the self is a fascinating, but massive area – surely the very crux of philosophy!…I do like opening these cans of worms and fishing with them.

Anyway…Since projecting the “winners” on the wall, I place the trumpet against the corner, “upside-down” (small end on the ground) and see it as some sort of tombola. I video myself throwing newspaper sheets into the opening, filling it up with pages and pages of supplements, old news and adverts. The collection of information, like a rubbish heap or piles of protective wrapping paper holds resonance with my ideas of being overloaded with information, the idea that all that text, pictures, numbers, laid out on paper surrounds us, informs us and exposes us to the world, but is also never-ending, the layering of strata day by day – for what? Is this pile of information part of who we are? Not every word within a paper necessarily speaks for us – but when we buy the paper, we are buying into that editorial position, so how can we base our opinions on scantly read “fact” that is also based on a bias perspective.

The idea of “competition” presented in the “putting a name in a hat” (tombola) is evident – I reversing the footage, and the paper magically floats out (out of shot), as if these messages are flying off to their winning owners. Aesthetically, it’s quite mesmerising to watch, but I think that it also works on a conceptual level. I like the absurdity of the footage (reversed), a towering tombola, spitting out information, with “winners” displayed next to it certainly has got my fellow mfa students creating “imaginary people”, the stories these names create, the places and ages that support the developing narrative is quite exciting. I think I might write “thank you” letters from the “winners”. I should even search the names, to see if these people actually exist – perhaps even reducing the odds, to include the age or town of the randomly created “person”…the possibilities (again) are endless!

I buy and stick the times to the Full Stop today.

bbc tells lies...shock horror. (not really)

I set to work in dissecting and comparing my practice with other artists’ work (it’s the only area I’ve not really researched (compared to the area of news / newspaper / stories of trust / truth within the new (gold today, as all the stories about the BBC faking phone competitions and creatively editing footage of the queen and conservative MPs hanging out with Labour(!)))). I think of all the artists I’ve been looking at already, and then “flip” the assessment, what work am I producing, that works on some conceptual or visually comparative level? I’ve been thinking about the “tribal” (or primitive) aspect of the “horns” and the “war paint” (newsprint on hands after reading / sticking papers), and I’ve been thinking of Jake and Dinos Chapman’s McDonalds sculptures, “fake” African / primitive art deifying McDonalds imagery …I found a few reviews, and texts on the work, so that’s cool. I’d read too that Willie Doherty’s work critiques media / medium, using cinema / documentary to tell fictitious stories, and vice versa. I’ll need to read up more, to find the relevance, but some paragraphs might back up some research / ideas.

I also decide to write an email to Rainer Ganahl, just to see if I can get a reply, about his thoughts on “the media” (if he is interested in the way news portrays a story, or is he only interested in “the story” ?) lets hope I get a reply…but, he’s probably “affa busy” getting ready for the Venice Biennale. Watch this space.

As I’d said earlier, the BBC is in a spin today about all of the revelations of faking / lying to the public about competitions (phone ins) and clever editing of news footage (the queen “storming out” of a photography session, when actual fact, the “storm” was before the incident of the photographer asking her to take off her crown)… It’s fantastic for me, headline news, deep questioning and answers from the director general, Mark Thompson – “trust” and “truth” and “honesty” are banded around in the stories – it’s again, as if I’d predicted a major news story (remember the Scottish Election results fiasco?) I’ve noted all the URLs on the BBC, ITV and channel 4. It’s interesting watching the different “levels” of inquiry from Jon Snow (C4) to Huw Edwards (BBC). Jon Snow, unapologetic and difficult as ever (great stuff), and Huw, crawling, and almost apologetic (stuttering) when asking about “resignations” (to his “ultimate boss”)…it’s very interesting to see the BBC news “question” itself, technically. Impartiality, my arse.

One idea to come out of this story, was a “random winner generator”, to which I made in 1 hour. I think this would be great, projected somewhere in Gray’s on the night of the MfA opening…Perhaps some further inquiry, into the “random names” generated, actually exist. All of the first and last names were taken from Census information, so it is entirely possible…Some Tacita Dean-esque chasing ghosts might be interesting…perhaps even creating a small cash prize of £1 for each “winner” and sending them it, might lead to a line of work……..ah, so many ideas, so little time. It’s amazing to think that so many ideas can come out of (what appears to be) so little seeds.

I stuck the Daily Mirror onto the Full Stop Today.

Good day for research

I’ve really tapped into a seam of amazing contextual referencing to my practice today…After reading the Phiadon book on Thomas Hirschhorn cover to cover in one day, I’ve cross referenced, researched and gained more insight into his work, and from several page returns, have been linked to other artists:

Jim Hodges – “the Good news”, This is a fantastically subtle work, Hodges has taken the New York Times and covered it in gold leaf. I like the double (if not triple) edge to this work. First impressions are, that this is a celebration of “the right news”, a liberal open minded newspaper, worthy of dipping in gold, and regarding as a winning trophy, the sheer gusto and ostentatious objectification of a daily newspaper, who happens to “speak for the artist”…on deeper probing, the name “the Good News”, is also a biblical reference – the bible…this is where my thinking starts to creep into negative realms, is Hodges goading the publication into a false sense of heightened status (surely no publication could be worthy of higher praise than “the bible”? – don’t get me started, of course I disagree!) – but the biblical reference also carries further, the sense that “thou shalt not worship false idols”, it’s not in the shape of an ox – but it could certainly be seen as a some blasphemous golden totem, certainly fitting with the right wing politics criticism of the paper in the US. It’s also interesting to think that this idolisation of the paper, the adorning it in gold leaf, has actually rendered the paper worthless – that is you can’t read it, you can not gain information or fact, or even liberal opinion from it – mute. If I could experience this work in the flesh, I would see if any relief would be visible from the ink through the gold leaf…this is quite a poignant note, the internet certainly can open up new areas of information, but it still does not afford me the “full picture”. I am finding it very difficult to find anything about this work (text wise)…so I will have to base my opinions on only a handful of small images, and few lines of text describing the dimensions and materials…so you can’t take my word for it!

Eleanor Brown – newpaper. Speaking of gold, I struck it here. On an internet page, http://www.artvehicle.com/ArtvehicleMailer/issue12/index.html under a Hirschhorn article, I see “newpaper” (not Newspaper) a newspaper that critiques newspapers in an artistic context (http://www.thenewpaper.co.uk/ I was amazed too!). It’s even got an article in it by Rainer Ganahl…this is too good to be true! I frantically try and find an online shop that sells it…but fail (well, a Canadian website has one for $2 + $10 pnp…so I avoid that). But, I do find their “hard to find” website, with a contact email of Eleanor, so I write a mail to her, asking if I can have a copy (lets hope I am not too late). I’ve sent her this blog address, and told her about my lines of inquiry and how my practice is shaping up for the MfA…so, I’ll let you know when she gets back to me (like the positive thinking there?)

To top off my serendipity, I find an interview with Thomas Hirschhorn and Rainer Ganahl – the two artists I’d set out to explore fully when exploring the area of special study – information within the media in a fine art context. (both display an overpowering sense of confusion, bias and power within their works)…This has been a great day for my research. Now all I have to do is put it into some thoughtful writing!

I pasted the press and journal onto the Full Stop, as Gabi bought it for the house section.

daily record - delightful (where's the smiley to denote disgust? :7(

Today’s paper is the Daily Record (another delightful voice of the nation, with calm, measured reportage…only kidding). It’s a piffling 26 pages, full of spurious and typically tabloid tripe. (you see! It’s affecting the way I speak! (type Phil, type). Perhaps this could be something to think about – a performance where I only talk in puns and alliteration? – I like the sound of that. What is it with alliteration and puns in tabloid headlines? This is the very nub of my research, the way that information is presented to people, what is it that tabloids want to convey? To me, a pun, or alliteration in this context clearly devalues the validity, or even gravitas of a story. Up Yours Delores, is a classic sun Anti European headline…how grown up is it?! – the capacity to educate and intellectually instruct nearly 8 million readers and they always default to bullying, school yard, childish, puerile (enough with the adjectives) tactics. Is it any wonder that the UK has such piss poor communication, neighbourly and tactful skills. It’s an obvious area of criticism, but, I just dispair, and want it to change…chickens and eggs? (this is where my idea of swapping out the sun front cover, for an independent (with sneaky sun logo) would be great…just once…