I have been reading the catalogue of the Joan Eardley Sense of Place exhibition. It says she was classified as a social realist, as her work was of the 'kitchen sink' school. I need to read more about what Social Realism means. She, however, was quite dismissive of the term, more or less saying, 'I paint how I paint, classification is of no interest to me'. Maybe this Social Realist categorisation is why I like her work - gritty, mundane, with no artificial prettifying. I loved her drawings of children - energetic, scruffy, dirty, maybe cross-eyed, with a joie de vivre about them.
Thinking more about this, made me think about Social Mobility, which is so plugged by our Governments. And which I think is a load of tosh. I was at uni, as a mature student, from 2009-14. I grew hugely as a person, because I worked hard for my degree … but it made not the slightest difference to my social position. Neither did I want it to. My social mobility movements had been made by my working life in a manual industry, and led to me being, by my standards, quite affluent, and able to retire at 48. However, many of the young people on my degree course, did not study very hard, and are, at 21+, employed now in service industry jobs which they could have started at age 16. University education which was promoted as the key to social mobility has been an expensive blind alley for many people.
I think my artwork could create a new category - Social Respect. I am interested in what people do, that is valuable. Not in monetary terms, but in behaviour. I need to think more about how I want to define this.
I also thought about my sampler design. I was thinking about the cutting remark and examples of them. I had been envisaging lots of little stitch bits (like Tilleke Schwartz) but considered a series of simple two person outline for each time I have supported someone being treated unfairly, along with a quote.
Bhuta and me 'You are not giving him a warning without doing a fact finding"
Alex and me 'It is illegal to only downgrade female part-time staff with care responsibilities "
L and me 'You cannot be made compulsorily redundant when the job still exists'
Anita and me 'You cannot be dismissed for clerical errors when training has been refused'.
And an idea to write up tomorrow - research is sometimes more informative when it does not go right. I went to A Modern Portrait at SNPG and my data collection was naff because I did not understand their definitions of Achievement, Celebrity, Society and New Art Movements. So my counting was duff. But when I reevaluated using my Value criteria, it went well. Delve into this.
Saturday 31 December 2016
Wednesday 28 December 2016
Joan Eardley - A Sense of Place at Scottish Gallery of Modern Art
Jim and I are in Edinburgh for a few days. The Joan Eardley exhibition was excellent. She worked in two main fields - tenements and people in Glasgow Townhead (a deprived slum); and landscape at Catterline, a largely depopulated fishing village of about 13 dwellings just south of Aberdeen. Both sets of circumstances had similarities - a resilient population that made the best of a hard living.
I looked at both sets of paintings and enjoyed them, but decided to only analyse the images of people. Her earlier works of people in Townhead were heavy and sombre - interior scenes with a range and a man (a fellow artist) smoking. But her later works, mostly of children, were delightful. These were often quick chalk sketches of tenement children - energetic, colourful, very gestural. I liked the way she had captured an attitude or a posture - Eardley would give them comics or paint and paper to occupy them whilst she drew them. She was known in her area, and the children would often come up the stairs to her studio and ask if she wanted to paint them. Apparently she would pay them 3d, or 6d for a long 45 minute pose, and they would rush off to spend it on sweeties! There was a local family, the Samsons, with 12 children who she got to know quite well. I loved the drawing of the red headed girl with a pronounced squint.
The landscapes were often large and gestural oils, boldly coloured and included sand, grit and grass/wheat seeds. There were several preparatory sketches, in chalks, worked on smaller pieces of paper, with additional paper stuck to the rear when she needed to extend the drawing in a particular direction. I often liked the preparatory drawings more.
Her eye was said to be "keen, but kind". I liked this quote.
I looked at both sets of paintings and enjoyed them, but decided to only analyse the images of people. Her earlier works of people in Townhead were heavy and sombre - interior scenes with a range and a man (a fellow artist) smoking. But her later works, mostly of children, were delightful. These were often quick chalk sketches of tenement children - energetic, colourful, very gestural. I liked the way she had captured an attitude or a posture - Eardley would give them comics or paint and paper to occupy them whilst she drew them. She was known in her area, and the children would often come up the stairs to her studio and ask if she wanted to paint them. Apparently she would pay them 3d, or 6d for a long 45 minute pose, and they would rush off to spend it on sweeties! There was a local family, the Samsons, with 12 children who she got to know quite well. I loved the drawing of the red headed girl with a pronounced squint.
The landscapes were often large and gestural oils, boldly coloured and included sand, grit and grass/wheat seeds. There were several preparatory sketches, in chalks, worked on smaller pieces of paper, with additional paper stuck to the rear when she needed to extend the drawing in a particular direction. I often liked the preparatory drawings more.
Her eye was said to be "keen, but kind". I liked this quote.
Sunday 25 December 2016
Working out my sampler design
I needed to work out how to plan the stitching on the sampler. Time to take it off the stand, unroll it from the frame and get a scale image so I could work out the design. I have been doing rubbings at art class recently - what better way to get a scale drawing?!
 |
| Sampler unrolled showing stitching to date |
 |
| Rubbing of sampler |
 |
| Rubbing of hand drawn, stitched, map of Australia |
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| Rubbing of alphabet, borders and woman pushing boundaries |
Wednesday 21 December 2016
Tuesday 20 December 2016
Compare and Contrast Freud and Sir John Soane Musuems
Similarities
Both originally a family home.
Both are named after men - Freud and Soane
Both represent women in some way
Neither have the representation of gender as a key principle
Plentiful staff at both locations.
Differences
Each from a different time - Freud 20th C, Soane 18th C
Women are peripheral to the representation within the Soane Museum, but are central to representation in the Freud
Soane is a 'Gentleman's collection' of disparate objects of whatever interested him at the time - paintings, architectural details, maps/plans, coins, etc. Freud has a diversity of objects, which all relate to the theme of psychoanalysis in some way - books, archaeological human forms, furniture, personal paraphernalia.
Soane has some Museum policies available on line. Freud does not.
Soane has portrait of Emma Hamilton, by Sir Joshua Reynolds in a coquettish semi-nude pose. Freud's wall image is of Gravida, fully clothed.
Soane is free to enter, and has information explaining the house available in a 3GBP booklet. Very little narrative available about house contents. Freud is 4GBP (annual ticket) and has information boards around the house. Plenty of narrative available about the people it represents
Soane forbids photos. Freud allows photos, but requests no flash.
Preparation for visits.
Select my two museums - Sir John Soane and Freud. Identify opening times.
Identify questions to ask: How do these museums show their respect for women?
What does 'respect' mean? To me - treating people positively. Not derogative.
Methodology - qualitatitive
Scopophilia - pleasure of looking. In relation to my question.
How analysed - by considering why one museum, Soane, did not appeal to me and the other one, Freud, did.
Theory applied - semiotics - visual reading of the sign. I considered whether semiotics holds true over time or does the interpretation of the sign vary across time.
Reynolds' portrait of The Snake in the Grass (Emma Hamilton) would have been read semiotically by a small audience of affluent men, probably in a rich man's study, in a private environment. It is an image intended to be titillating, and would not have been on display in the public areas of a house, where the mistress and her guests could see it. It would not have been interpreted as objectifying women, but possibly personifying woman as alluring. However over time, the nude striking a pose, has been interpreted in various ways, and gone in and out of fashion for collectors and for display. In 21st century Britain, feminists would find it demeaning and objectifying to women.
Gravida, Freud's plaster cast wall hanging, if clearly named, would have been interpreted as a fertile woman in ancient Greek times, and probably also in Freud's time. My interpretation of the image, without knowledge of the meaning of the name, was to interpret it as a Greco-woman in a flowing robe - with no concept of its representation of fertility. So semiotics again does not give a consistent representation of a sign.
Lambrous Malafouris' Material Engagement Theory alters the nature of the sign. It is the engagement with materiality that informs understanding. The materiality of the object means it has tactility and durability - unlike and separate from a linguistic, i.e. ephemeral, sign. Semiotics relies on coding and decoding- understanding what it is, and what it means. However the interaction between material and linguistic signs enables semiotics to work. Material signs are durable - they can be touched, carried, worn, possessed, traded and destroyed. They are tactile and spacial and can understood in embodied ways. However, the linguistic sign is ephemeral, linear and sequential and does not have the properties of the material sign. Traditional semiotics tends to reduce signification to a contextual encoding and decoding, where there is a specific 'right answer' to decoding the signifier.
Material engagement theory changes this outcome. Material signs are not message carriers of the pre-defined social universe: they are an example of "something". They are objects of substance, so form instantiation (an instance). Without the linguistic sign to accompany the object, there is no expressive concept. Viewing the sign without understanding the concept or code, means the interpretation will vary across time.
Both originally a family home.
Both are named after men - Freud and Soane
Both represent women in some way
Neither have the representation of gender as a key principle
Plentiful staff at both locations.
Differences
Each from a different time - Freud 20th C, Soane 18th C
Women are peripheral to the representation within the Soane Museum, but are central to representation in the Freud
Soane is a 'Gentleman's collection' of disparate objects of whatever interested him at the time - paintings, architectural details, maps/plans, coins, etc. Freud has a diversity of objects, which all relate to the theme of psychoanalysis in some way - books, archaeological human forms, furniture, personal paraphernalia.
Soane has some Museum policies available on line. Freud does not.
Soane has portrait of Emma Hamilton, by Sir Joshua Reynolds in a coquettish semi-nude pose. Freud's wall image is of Gravida, fully clothed.
Soane is free to enter, and has information explaining the house available in a 3GBP booklet. Very little narrative available about house contents. Freud is 4GBP (annual ticket) and has information boards around the house. Plenty of narrative available about the people it represents
Soane forbids photos. Freud allows photos, but requests no flash.
Preparation for visits.
Select my two museums - Sir John Soane and Freud. Identify opening times.
Identify questions to ask: How do these museums show their respect for women?
What does 'respect' mean? To me - treating people positively. Not derogative.
Chambers dictionary - Respect: to heed; to relate to; to treat with consideration; refrain from violating; to feel to show esteem; deference or honour to; value. Interesting that respect includes Value!
Scopophilia - pleasure of looking. In relation to my question.
How analysed - by considering why one museum, Soane, did not appeal to me and the other one, Freud, did.
Theory applied - semiotics - visual reading of the sign. I considered whether semiotics holds true over time or does the interpretation of the sign vary across time.
Reynolds' portrait of The Snake in the Grass (Emma Hamilton) would have been read semiotically by a small audience of affluent men, probably in a rich man's study, in a private environment. It is an image intended to be titillating, and would not have been on display in the public areas of a house, where the mistress and her guests could see it. It would not have been interpreted as objectifying women, but possibly personifying woman as alluring. However over time, the nude striking a pose, has been interpreted in various ways, and gone in and out of fashion for collectors and for display. In 21st century Britain, feminists would find it demeaning and objectifying to women.
Gravida, Freud's plaster cast wall hanging, if clearly named, would have been interpreted as a fertile woman in ancient Greek times, and probably also in Freud's time. My interpretation of the image, without knowledge of the meaning of the name, was to interpret it as a Greco-woman in a flowing robe - with no concept of its representation of fertility. So semiotics again does not give a consistent representation of a sign.
Lambrous Malafouris' Material Engagement Theory alters the nature of the sign. It is the engagement with materiality that informs understanding. The materiality of the object means it has tactility and durability - unlike and separate from a linguistic, i.e. ephemeral, sign. Semiotics relies on coding and decoding- understanding what it is, and what it means. However the interaction between material and linguistic signs enables semiotics to work. Material signs are durable - they can be touched, carried, worn, possessed, traded and destroyed. They are tactile and spacial and can understood in embodied ways. However, the linguistic sign is ephemeral, linear and sequential and does not have the properties of the material sign. Traditional semiotics tends to reduce signification to a contextual encoding and decoding, where there is a specific 'right answer' to decoding the signifier.
Material engagement theory changes this outcome. Material signs are not message carriers of the pre-defined social universe: they are an example of "something". They are objects of substance, so form instantiation (an instance). Without the linguistic sign to accompany the object, there is no expressive concept. Viewing the sign without understanding the concept or code, means the interpretation will vary across time.
Sunday 18 December 2016
Methodology Exercise
We have been set an exercise to set some methodology, and use it to compare and contrast two museums. We can choose between: Dennis Sever's House; Camden Arts Centre; Sir John Soane, and Freud House. Dennis Sever's House is fully booked until the New Year, costs 15GBP, and I have already been there. We went as a class to Camden Arts Centre (free entry) and it left me cold. However, I have never been to Sir John Soane (free entry) or Freud's House (4GBP student entry, ticket valid for a year), so I decided to pick these two, largely because they were originally private homes.
My preparation:
Define a reason for selecting these two - both originally private homes.
Identify questions to consider while going round the property.:
How do these museums show their respect for women?
By their artefacts?
By their staging?
By the narrative provided?
By their policies?
By how they treat their customers?
How do they target their marketing?
What does 'respect' mean? To me - treating people positively. Not derogative.
Chambers dictionary - Respect: to heed; to relate to; to treat with consideration; refrain from violating; to feel to show esteem; deference or honour to; value. Interesting that respect includes Value!
I had a look at the policies that each museum published on its webpage. The Sir John Soane had a few policies available, and the Collections Policy made it clear that very few artefacts were accepted by the museum. They had a Committee that applied very strong criteria around period and subject matter before they accepted anything from the public for the museum. I noted Sir John Soane had 2 sons, and no mention of any wife or daughters. Nothing specifically about women. I was not looking forward to going to this museum, as class members from a previous study group had reviewed it and not had a favourable time there. NB Photos not allowed.
The Freud Museum had very few policies on its web page, but was much more informative about Anna Freud, his daughter. I did not know anyone who had been there, but I was looking forward to the visit, and had meant to visit the location for some time - this exercise just galvanised me into action. Photos allowed, no flash.
The Visits:
The Sir John Soane is a deceptively large house on Lincolns Inn Fields. The entrance appears to be to one house, but actually extends to 3 houses. Sir John Soane left his house and estate to become a museum, on the terms that nothing was to be altered. He had a huge collection of architectural artefacts, maps and plans, and other 18th century bric-a-brac. Very few information boards or handouts, unless you paid for a 3GBP pamphlet or 20GBP guidebook! There are a couple of rooms facing the square which are decorated and styled for the period and feel quite spacious. However, the complex rooms at the rear of the house are absolutely stuffed with a plethora of architectural features, artlessly displayed. One room had walls that were layered with hinged, wall sized panels, and had huge paintings were stored/hung on them, and the museum assistant was moving them so visitors could see the paintings.
Features about women included:
Coins - mostly with male profiles, but a few female as well. If a male and female profile was present, the male was in front.
Oil paintings. Mostly of high class men, but a few women were present. In my opinion the women portrayed were in the role of 'attractive appendage to a man'. Typical of the period in which the painting was made.
Oil painting of Emma Hamilton in a coquettish pose, with a small child.
Firescreen - textile with a faded image of a woman.
Pencil drawing of a woman, with a label in french. I could not translate it, using my basic French.
Ceiling murals of semi-clad women, personifying various graces.
There was a room describing a project 'Opening up the Soane Museum', which had information. The script in the information boards referred to men by job role and name - Curator, John Smith - but Helen Dorey did not have a job role (I later found out she was the Deputy Director).
On a Recognition Board (high on the wall and illuminated), high status staff, both men and women were named and titled. It mentioned there had been turnover of Musuem Directors, leading to deputies covering the role. Lower status staff (Assistant Conservator, Community Outreach Officer, Volunteers and Visitor Assistants were mentioned but not named. Except for "Special thanks due to Lewis Bush, young and upcoming photographer".
In another corner (unilluminated) on a board, Visitor Assistants are named, and photographed, and this shows they are mostly women. Volunteers and visitor assistants were plentiful at the venue, with an approximate ratio of 4 women:1man. No way of telling who was paid/volunteering.
Analysis:
I was too tired and uninspired/disinterested to carry out quantitative analysis by counting objects. So I looked at things, made notes and concentrated on how I felt - qualitative analysis. Then I thought about semiotics - how we read signs. Semiotics is a useful theory, but has a major criticism made of it - that the theory says the meaning of signs is static - which it is not. As culture evolves, things we see change in how they are interpreted. For example, a lady in the late 1800s is often portrayed in drama, wearing a strident purple - which we now read as Victorian, and fairly ordinary. In its time, the colour of the dress indicated she was high status because purple was one of the first Perkins artificial dyes derived from a by-product of the coal tar industry, was a recent textile invention for its time, and only worn by high fashion, affluent ladies.
So, the policy of the Sir John Soane, to retain the museum as he left it, is impacting on how the building, contents and artefacts can be interpreted and understood in 21st century society. It comes across neither as a museum, nor a personal home.
Coins embossed with the head of a monarch, in profile, indicate status. It is disrespectful for a low status person to look a high status person in the eye, so coins only show high status people in profile, so the plebs cannot stare them in the eye. But 21st century society does not understand the symbolism of the profile. As the UK has had a female monarch on its coinage for 60+ years, we probably do not realise how unusual it is for a woman to be portrayed on coins.
I found the room about 'Opening up the Soane' much more interesting for analysis of women. There was considerable importance attached to the roles that staff carried out. The Recognition Board appeared to have been written with the Senior Staff (mostly men) as the intended audience, as it recognised and flattered them. One junior team member was mentioned with the senior men, and was male, 'young and upcoming'. The junior staff were referred to, but by job roles only (impossible to identify gender). Volunteers were not named, but had a group photograph (women only!) and were not representative of the people who volunteer.
The Freud Museum
This museum is a large family house in Finchley Road, an affluent area. As we entered, it felt like a family home, built in the early 20th century. It was the home of Sigmund Freud from 1938-9 - only one year! Freud was a non-practicing Jew. Freud and his family fled Austria because of harassment of the Jewish population when it was annexed by the Nazis, immediately prior to the start of WW2. They were able to obtain visas due to his professional status and connections, and migrated as a family, with their furniture and possessions, and considerable funds. They were able to pay various 'fees' by selling about a third of his book collection, and using personal funds. Presumably the Freud family remained sufficiently affluent to also purchase a large house in an expensive area, despite being refugee migrants. Anna Freud was his daughter, who lived in the house until 1982 (her death) and bequeathed it as a Musuem to Freud.
Dining room contained Anna Freud's peasant style furniture from early 1900s. Information boards on the dining table gave a brief life history of Freud, Anna, his wife, 2 housekeepers and a friend of Anna. Strong, positive representation of real people.
The downstairs lounge/study/consulting room is furnished as it was during his time, with lots of archaeological artefacts in glass cabinets. He had many human figures from various archaeological periods which he used in his work. Nora noted the different periods were all jumbled up together. Perhaps there was a different reason for assembling the objects the way they were. There was his consulting couch, with his seat behind the head of the couch, so the patient could not be distracted by seeing him.
Upstairs, on the capacious landing there was an extensive family tree, identifying Sigmund Freud, Anna Freud (daughter and child psychologist) and Lucien (great nephew and artist) and Clement Freud (great nephew and MP/broadcaster) amongst others.
In the rear bedroom, was a display about Anna Freud, a noted child psychologist. There was her desk and typewriter, and a large glass cabinet with various objects related to her - a thimble and the accompanying letter from a friend who donated it; a wooden woodpecker door knocker, typewriter, books etc. The display combined artefacts about her professional life and competence, and her domestic interests such as knitting and sewing. It made for a more rounded presentation of a deceased person.
In a front bedroom there was a consulting couch and table, but little else. The wall space is used for visiting artistic displays. The artworks on display were of black and white drawings in a month-to-a-view calendar format, presumably giving a narrative of what happened to the (male) artist throughout the month. Did not fit with my remit.
However, there were two interaction boards that asked key questions favoured by Freud. I liked the interaction potential of these.
My preparation:
Define a reason for selecting these two - both originally private homes.
Identify questions to consider while going round the property.:
How do these museums show their respect for women?
By their artefacts?
By their staging?
By the narrative provided?
By their policies?
By how they treat their customers?
How do they target their marketing?
What does 'respect' mean? To me - treating people positively. Not derogative.
Chambers dictionary - Respect: to heed; to relate to; to treat with consideration; refrain from violating; to feel to show esteem; deference or honour to; value. Interesting that respect includes Value!
I had a look at the policies that each museum published on its webpage. The Sir John Soane had a few policies available, and the Collections Policy made it clear that very few artefacts were accepted by the museum. They had a Committee that applied very strong criteria around period and subject matter before they accepted anything from the public for the museum. I noted Sir John Soane had 2 sons, and no mention of any wife or daughters. Nothing specifically about women. I was not looking forward to going to this museum, as class members from a previous study group had reviewed it and not had a favourable time there. NB Photos not allowed.
The Freud Museum had very few policies on its web page, but was much more informative about Anna Freud, his daughter. I did not know anyone who had been there, but I was looking forward to the visit, and had meant to visit the location for some time - this exercise just galvanised me into action. Photos allowed, no flash.
The Visits:
The Sir John Soane is a deceptively large house on Lincolns Inn Fields. The entrance appears to be to one house, but actually extends to 3 houses. Sir John Soane left his house and estate to become a museum, on the terms that nothing was to be altered. He had a huge collection of architectural artefacts, maps and plans, and other 18th century bric-a-brac. Very few information boards or handouts, unless you paid for a 3GBP pamphlet or 20GBP guidebook! There are a couple of rooms facing the square which are decorated and styled for the period and feel quite spacious. However, the complex rooms at the rear of the house are absolutely stuffed with a plethora of architectural features, artlessly displayed. One room had walls that were layered with hinged, wall sized panels, and had huge paintings were stored/hung on them, and the museum assistant was moving them so visitors could see the paintings.
Features about women included:
Coins - mostly with male profiles, but a few female as well. If a male and female profile was present, the male was in front.
Oil paintings. Mostly of high class men, but a few women were present. In my opinion the women portrayed were in the role of 'attractive appendage to a man'. Typical of the period in which the painting was made.
Oil painting of Emma Hamilton in a coquettish pose, with a small child.
Firescreen - textile with a faded image of a woman.
Pencil drawing of a woman, with a label in french. I could not translate it, using my basic French.
Ceiling murals of semi-clad women, personifying various graces.
There was a room describing a project 'Opening up the Soane Museum', which had information. The script in the information boards referred to men by job role and name - Curator, John Smith - but Helen Dorey did not have a job role (I later found out she was the Deputy Director).
On a Recognition Board (high on the wall and illuminated), high status staff, both men and women were named and titled. It mentioned there had been turnover of Musuem Directors, leading to deputies covering the role. Lower status staff (Assistant Conservator, Community Outreach Officer, Volunteers and Visitor Assistants were mentioned but not named. Except for "Special thanks due to Lewis Bush, young and upcoming photographer".
In another corner (unilluminated) on a board, Visitor Assistants are named, and photographed, and this shows they are mostly women. Volunteers and visitor assistants were plentiful at the venue, with an approximate ratio of 4 women:1man. No way of telling who was paid/volunteering.
Analysis:
I was too tired and uninspired/disinterested to carry out quantitative analysis by counting objects. So I looked at things, made notes and concentrated on how I felt - qualitative analysis. Then I thought about semiotics - how we read signs. Semiotics is a useful theory, but has a major criticism made of it - that the theory says the meaning of signs is static - which it is not. As culture evolves, things we see change in how they are interpreted. For example, a lady in the late 1800s is often portrayed in drama, wearing a strident purple - which we now read as Victorian, and fairly ordinary. In its time, the colour of the dress indicated she was high status because purple was one of the first Perkins artificial dyes derived from a by-product of the coal tar industry, was a recent textile invention for its time, and only worn by high fashion, affluent ladies.
So, the policy of the Sir John Soane, to retain the museum as he left it, is impacting on how the building, contents and artefacts can be interpreted and understood in 21st century society. It comes across neither as a museum, nor a personal home.
Coins embossed with the head of a monarch, in profile, indicate status. It is disrespectful for a low status person to look a high status person in the eye, so coins only show high status people in profile, so the plebs cannot stare them in the eye. But 21st century society does not understand the symbolism of the profile. As the UK has had a female monarch on its coinage for 60+ years, we probably do not realise how unusual it is for a woman to be portrayed on coins.
I found the room about 'Opening up the Soane' much more interesting for analysis of women. There was considerable importance attached to the roles that staff carried out. The Recognition Board appeared to have been written with the Senior Staff (mostly men) as the intended audience, as it recognised and flattered them. One junior team member was mentioned with the senior men, and was male, 'young and upcoming'. The junior staff were referred to, but by job roles only (impossible to identify gender). Volunteers were not named, but had a group photograph (women only!) and were not representative of the people who volunteer.
The Freud Museum
This museum is a large family house in Finchley Road, an affluent area. As we entered, it felt like a family home, built in the early 20th century. It was the home of Sigmund Freud from 1938-9 - only one year! Freud was a non-practicing Jew. Freud and his family fled Austria because of harassment of the Jewish population when it was annexed by the Nazis, immediately prior to the start of WW2. They were able to obtain visas due to his professional status and connections, and migrated as a family, with their furniture and possessions, and considerable funds. They were able to pay various 'fees' by selling about a third of his book collection, and using personal funds. Presumably the Freud family remained sufficiently affluent to also purchase a large house in an expensive area, despite being refugee migrants. Anna Freud was his daughter, who lived in the house until 1982 (her death) and bequeathed it as a Musuem to Freud.
Dining room contained Anna Freud's peasant style furniture from early 1900s. Information boards on the dining table gave a brief life history of Freud, Anna, his wife, 2 housekeepers and a friend of Anna. Strong, positive representation of real people.
The downstairs lounge/study/consulting room is furnished as it was during his time, with lots of archaeological artefacts in glass cabinets. He had many human figures from various archaeological periods which he used in his work. Nora noted the different periods were all jumbled up together. Perhaps there was a different reason for assembling the objects the way they were. There was his consulting couch, with his seat behind the head of the couch, so the patient could not be distracted by seeing him.
Upstairs, on the capacious landing there was an extensive family tree, identifying Sigmund Freud, Anna Freud (daughter and child psychologist) and Lucien (great nephew and artist) and Clement Freud (great nephew and MP/broadcaster) amongst others.
In the rear bedroom, was a display about Anna Freud, a noted child psychologist. There was her desk and typewriter, and a large glass cabinet with various objects related to her - a thimble and the accompanying letter from a friend who donated it; a wooden woodpecker door knocker, typewriter, books etc. The display combined artefacts about her professional life and competence, and her domestic interests such as knitting and sewing. It made for a more rounded presentation of a deceased person.
In a front bedroom there was a consulting couch and table, but little else. The wall space is used for visiting artistic displays. The artworks on display were of black and white drawings in a month-to-a-view calendar format, presumably giving a narrative of what happened to the (male) artist throughout the month. Did not fit with my remit.
However, there were two interaction boards that asked key questions favoured by Freud. I liked the interaction potential of these.
Monday 12 December 2016
Material Engagement Theory - Lambrous Malafouris
Material engagement theory is an archaeological theory with aims to explain long term change, specifically how cognitive abilities grow and develop. However this is not done by analysing human development in relation to evolution (i.e. when and where), but by considering what, how and why. Material engagement theory links cultural and biological evolution as inseparable synergetic processes. Human intelligence is deeply intra-active. It is elicited by our surroundings (human and environmental) and influences our thinking abilities and responses.
Individuals of the same genotype can have different neural, cognitive and behavioural outcomes, because of the impact of differing social, environmental and cultural differences and variations in life and learning experiences. This means individuals with similar gene types have outcomes that are probabilistic, rather than predetermined. Griffiths and Stoltz suggest "what individuals inherit from their ancestors is not a mind, but the ability to develop a mind".
MET aim to frame research questions to focus on dynamic relationships that are under-theorized from the viewpoint of cognitive and brain sciences - i.e. upon the interactions among brains, bodies and things. Material engagement theory tries to establish culturally and philosophically informed links between the brain's functional structure and material culture. It needs a methodology that is able to deal with different temporalities. To me, this means that our brains, evolved and operating in the 21st century, need to adapt to working with the archaeological realities. As I am interested in 'the object' I need to improve my understanding of material culture.
Archaeologists "take things seriously". Things enact and constitute a system of understanding. Objects have a transformational power that goes beyond the descriptive dimension of their life history. MET is not the backdrop to human cognition. Rather, objects mediate, shape and constitute our ways of being, and of making sense of the world. MET articulates and brings into focus the intersection of people and things. (How Things Shape the Mind, Lambroud Malafouris, ch3)
Semiotics discusses the nature of the sign. However there is a difference between material and linguistic signs. Material signs are durable - they can be touched, carried, worn, possessed, traded and destroyed. They are tactile and spacial and can understood in embodied ways. However, the linguistic sign is ephemeral, linear and sequential and does not have the properties of the material sign. Traditional semiotics tends to reduce signification to a contextual encoding and decoding, where there is a specific 'right answer' to decoding the signifier. Material engagement theory changes this outcome.
The material sign is expressive. It is an object therefore has substance and is an example of the sign - philosophisers call this 'instantiation' The linguistic sign has no substance, stands for a concept and is expressive. Material signs are not message carriers of a pre-defined social universe - they are actual physical forces that shape the social and cognitive universe - therefore are not static in time.
Individuals of the same genotype can have different neural, cognitive and behavioural outcomes, because of the impact of differing social, environmental and cultural differences and variations in life and learning experiences. This means individuals with similar gene types have outcomes that are probabilistic, rather than predetermined. Griffiths and Stoltz suggest "what individuals inherit from their ancestors is not a mind, but the ability to develop a mind".
MET aim to frame research questions to focus on dynamic relationships that are under-theorized from the viewpoint of cognitive and brain sciences - i.e. upon the interactions among brains, bodies and things. Material engagement theory tries to establish culturally and philosophically informed links between the brain's functional structure and material culture. It needs a methodology that is able to deal with different temporalities. To me, this means that our brains, evolved and operating in the 21st century, need to adapt to working with the archaeological realities. As I am interested in 'the object' I need to improve my understanding of material culture.
Archaeologists "take things seriously". Things enact and constitute a system of understanding. Objects have a transformational power that goes beyond the descriptive dimension of their life history. MET is not the backdrop to human cognition. Rather, objects mediate, shape and constitute our ways of being, and of making sense of the world. MET articulates and brings into focus the intersection of people and things. (How Things Shape the Mind, Lambroud Malafouris, ch3)
Semiotics discusses the nature of the sign. However there is a difference between material and linguistic signs. Material signs are durable - they can be touched, carried, worn, possessed, traded and destroyed. They are tactile and spacial and can understood in embodied ways. However, the linguistic sign is ephemeral, linear and sequential and does not have the properties of the material sign. Traditional semiotics tends to reduce signification to a contextual encoding and decoding, where there is a specific 'right answer' to decoding the signifier. Material engagement theory changes this outcome.
The material sign is expressive. It is an object therefore has substance and is an example of the sign - philosophisers call this 'instantiation' The linguistic sign has no substance, stands for a concept and is expressive. Material signs are not message carriers of a pre-defined social universe - they are actual physical forces that shape the social and cognitive universe - therefore are not static in time.
Friday 2 December 2016
Thinking about my Values
One of my values that I put in my sketchbook, was 'defending the vulnerable and the voiceless'. Vanda challenged me on this, and at the time, I felt it was appropriate use of terminology. Now I am starting to change my position.
The people I was thinking about at the time (Alex, Bhuta, Anita) were being treated badly in a selection of different workplaces. They were close to severe unfavourable treatment, and some were not able to voice or argue their position. I had the arguments available to challenge the management viewpoint. However, I only defend people when I think fit (not everyone), and also have identified another person where I did not have the argument but supported that person to think the situation through. So I need to find a more appropriate term.
'Supporting people being treated unfairly' is a better term. So if I want to find out how these people define the value I demonstrate, what are the questions?
"I am trying to work our what my values are for a self portrait.
Think about when we were discussing (situation)
How did you feel before we discussed it?
What did we do?
What did you do?
What did I do?
How did it make you feel?
How was it helpful?
What was the outcome?"
The people I was thinking about at the time (Alex, Bhuta, Anita) were being treated badly in a selection of different workplaces. They were close to severe unfavourable treatment, and some were not able to voice or argue their position. I had the arguments available to challenge the management viewpoint. However, I only defend people when I think fit (not everyone), and also have identified another person where I did not have the argument but supported that person to think the situation through. So I need to find a more appropriate term.
'Supporting people being treated unfairly' is a better term. So if I want to find out how these people define the value I demonstrate, what are the questions?
"I am trying to work our what my values are for a self portrait.
Think about when we were discussing (situation)
How did you feel before we discussed it?
What did we do?
What did you do?
What did I do?
How did it make you feel?
How was it helpful?
What was the outcome?"
Presenting about our Methodologies and a useful tutorial
Our class presentations were diverse as usual. I think, as a group, we are displaying the full spectrum of problems students have when learning to develop methodology.
A methodology is meant to enable a research to have a hypothesis, gather data, test, (fail, retest, fail better) and draw a conclusion.
Our product developer was going straight from idea to making, because he wants to get stuff made. Another person gave the whole methodology from concept to output (too much info); someone else gave some great examples of developing mark making from her idiosyncratic eyeliner marks on her hand, developed with different media (stones, metal objects).
My presentation just was not very good - I showed my Values Table and Free Association writing. Danielle asked whether I was using a tabulated format as a reaction against my white collar work history. This floored me. I had no idea what she was talking about. I know I have an absolute horror of A4 paper size, due to too much time spent handling paper, but I don't think I am using a table as methodology as a reaction against clerical work. (Gareth's notes: Giving yourself a form of clerical work - job is devising the methods/process - an interesting paradox/connection in reacting against the identities.)
I was asked whether honesty was a concept - I think it is, and therefore it is difficult to portray in artwork, other than by symbolism. I am using an honesty leaf.
I was advised to seek out data - as answers to questions. I was advised to put the email requests for data about value, as an initial paragraph, prior to the table. This document forms an appendix to the report. Expect to fail, retest, fail better, go round the loop a few times, then this creates robust data. Identify what learning there is in the failing, and what is the learning in the fail better? (This is critical).
Think about "problem" -v- "research". When you think about a problem, there is a tendency to go straight to the solution. However, as researchers, it is about coming up with ideas on how one might find things out - so first find the question, do many drawings, find many solutions. Identify who am I when I am researching. Much more generation of ideas. Be very clear about how you do it. We are doing making research not product research.
Be pragmatic. Clearly define your concept. More drawing.
Then I had a tutorial with Linden which I found really helpful. We discussed how to use the table and its data to move into sketchbook interpretation. She made me focus on what I am interested in:
Valuing the Under-valued
Exploring representation
Dignity of people -v- expendable people
I need to negotiate value - restrict the range, and find out about representation of value.
I am not interested in the difference in how genders are valued and in what way. It is just about women for me.
Advised to read Mark Johnson The Moral Imagination (ebook via LM library) He talks about negotiating own values.
Don't look at/worry about too many philosophies - they often miss out the relationship between us and the world we inhabit and the matter/substance of it.
I am interested in the hand tool.
Ask why are these women interesting?
Interlocutor
Stories about Alex, Bhuta, Anita. What is the question about I am asking about these people. Why do their cases interest me?
What should be valued? Who should be doing the valuing?
Do free association writing about halo and horns.
Interested in behaviour.
Consider gestures in representation. Linden's African women sculptures at Sainsbury Centre. Portrayals of success - woman, baby, breasts - success - I have a child and I can feed it.
A methodology is meant to enable a research to have a hypothesis, gather data, test, (fail, retest, fail better) and draw a conclusion.
Our product developer was going straight from idea to making, because he wants to get stuff made. Another person gave the whole methodology from concept to output (too much info); someone else gave some great examples of developing mark making from her idiosyncratic eyeliner marks on her hand, developed with different media (stones, metal objects).
My presentation just was not very good - I showed my Values Table and Free Association writing. Danielle asked whether I was using a tabulated format as a reaction against my white collar work history. This floored me. I had no idea what she was talking about. I know I have an absolute horror of A4 paper size, due to too much time spent handling paper, but I don't think I am using a table as methodology as a reaction against clerical work. (Gareth's notes: Giving yourself a form of clerical work - job is devising the methods/process - an interesting paradox/connection in reacting against the identities.)
I was asked whether honesty was a concept - I think it is, and therefore it is difficult to portray in artwork, other than by symbolism. I am using an honesty leaf.
I was advised to seek out data - as answers to questions. I was advised to put the email requests for data about value, as an initial paragraph, prior to the table. This document forms an appendix to the report. Expect to fail, retest, fail better, go round the loop a few times, then this creates robust data. Identify what learning there is in the failing, and what is the learning in the fail better? (This is critical).
Think about "problem" -v- "research". When you think about a problem, there is a tendency to go straight to the solution. However, as researchers, it is about coming up with ideas on how one might find things out - so first find the question, do many drawings, find many solutions. Identify who am I when I am researching. Much more generation of ideas. Be very clear about how you do it. We are doing making research not product research.
Be pragmatic. Clearly define your concept. More drawing.
Then I had a tutorial with Linden which I found really helpful. We discussed how to use the table and its data to move into sketchbook interpretation. She made me focus on what I am interested in:
Valuing the Under-valued
Exploring representation
Dignity of people -v- expendable people
I need to negotiate value - restrict the range, and find out about representation of value.
I am not interested in the difference in how genders are valued and in what way. It is just about women for me.
Advised to read Mark Johnson The Moral Imagination (ebook via LM library) He talks about negotiating own values.
Don't look at/worry about too many philosophies - they often miss out the relationship between us and the world we inhabit and the matter/substance of it.
I am interested in the hand tool.
Ask why are these women interesting?
Interlocutor
Stories about Alex, Bhuta, Anita. What is the question about I am asking about these people. Why do their cases interest me?
What should be valued? Who should be doing the valuing?
Do free association writing about halo and horns.
Interested in behaviour.
Consider gestures in representation. Linden's African women sculptures at Sainsbury Centre. Portrayals of success - woman, baby, breasts - success - I have a child and I can feed it.
Tuesday 29 November 2016
The Self - Defining yourself
How do you define yourself regarding your creative work? Are you an artist? Actually, I am not comfortable calling myself an artist. I can see myself as an Employee Relations Manager and an Operational Manager (both of which roles I no longer possess) - perhaps because I was paid a good salary to be these. Now, my identity is of a Student. Someone who is learning, exploring, thinking and at some point might draw conclusions.
Class debate ranged around whether whether self definition was based on Competence, Success or Recognition. Much easier to define whether another person is an artist, based on competence, success recognition than to self define.
Structure - leads to outside definition
Agency - leads to self definition
Class came up with various definitions - to me, an artist looks, thinks and conveys things. Portrays via various media.
Ian, the tutor, floated the idea that a fixed definition loses dynamism, which is critical to being an artist. Debate about Constructionist or Essentialist.
Constructionist
Culture
Culturally constructed
Discourse
Fit into art world definition
Essentialist
Nature
Born, innate, inherent
Pre-destined
The Artist's Calling.
Ian is clearly a Constructionist - he believes everything we think and do is culturally constructed. I am not so sure. I think some people have artistic tendencies born into them, although this may have a cultural support by the family into which they are raised. But I think the Essentialist element can be demonstrated by artistically talented people who were raised outside their own family, can show a genetic inclination to arts subjects - so it is born in them.
We debated "Post Van Gogh". The Art History version of Van Gogh does certain things -
Personalisation of the artist.
Glorifies the abnormal - goes outside the rules of the time
Rarity, not conformity
Beauty is discredited
Expression of artist's personality - does not make delightful objects.
Obscure.
Modern examples of the abnormal - Amy Winehouse, Nick Drake, Alexander McQueen. Led to the need to write the Art Manifesto - so audiences understood what the work is about.
Today's paradigm myth - 'I am in control of my own myth': Andy Warhol, Tracey Emin, Grayson Perry.
Pierre Bourdieu - Society and Utopia. Distinction is achieved by power through difference. Compares power through hierarchy, wealth, power and influence.
Capital is worth and monetary value.
Cultural capital - knowledge and education, skills and experience.
Symbolic capital - status and prestige. Lies within habits - lifestyle, values, tastes, social groups. All about cultural values.
Van Gogh's capital changed from his lifetime definition (very little achievement) to post death definition. Largely altered by his brother who had all the documentation from their correspondence. Modern ways (e.g. blogs) mean there is more documentation by which cultural and symbolical capital can be ascribed and defined. This is a scary thought for people like me who have blogged about their practice. Much of your artistic thought process has been defined and is available.
Class debate ranged around whether whether self definition was based on Competence, Success or Recognition. Much easier to define whether another person is an artist, based on competence, success recognition than to self define.
Structure - leads to outside definition
Agency - leads to self definition
Class came up with various definitions - to me, an artist looks, thinks and conveys things. Portrays via various media.
Ian, the tutor, floated the idea that a fixed definition loses dynamism, which is critical to being an artist. Debate about Constructionist or Essentialist.
Constructionist
Culture
Culturally constructed
Discourse
Fit into art world definition
Essentialist
Nature
Born, innate, inherent
Pre-destined
The Artist's Calling.
Ian is clearly a Constructionist - he believes everything we think and do is culturally constructed. I am not so sure. I think some people have artistic tendencies born into them, although this may have a cultural support by the family into which they are raised. But I think the Essentialist element can be demonstrated by artistically talented people who were raised outside their own family, can show a genetic inclination to arts subjects - so it is born in them.
We debated "Post Van Gogh". The Art History version of Van Gogh does certain things -
Personalisation of the artist.
Glorifies the abnormal - goes outside the rules of the time
Rarity, not conformity
Beauty is discredited
Expression of artist's personality - does not make delightful objects.
Obscure.
Modern examples of the abnormal - Amy Winehouse, Nick Drake, Alexander McQueen. Led to the need to write the Art Manifesto - so audiences understood what the work is about.
Today's paradigm myth - 'I am in control of my own myth': Andy Warhol, Tracey Emin, Grayson Perry.
Pierre Bourdieu - Society and Utopia. Distinction is achieved by power through difference. Compares power through hierarchy, wealth, power and influence.
Capital is worth and monetary value.
Cultural capital - knowledge and education, skills and experience.
Symbolic capital - status and prestige. Lies within habits - lifestyle, values, tastes, social groups. All about cultural values.
Van Gogh's capital changed from his lifetime definition (very little achievement) to post death definition. Largely altered by his brother who had all the documentation from their correspondence. Modern ways (e.g. blogs) mean there is more documentation by which cultural and symbolical capital can be ascribed and defined. This is a scary thought for people like me who have blogged about their practice. Much of your artistic thought process has been defined and is available.
The Luce Irigaray Reader 1991
Luce Irigaray refuses to give autobiographical details as it prevents her being boxed or categorised by a
- focus on her appearance/relationship with Sartre;
- using her personal to discredit her political
- reduces political commitments to emotional problems
- presents her as a cold, uncaring female politician, i.e. not a woman
- bluestocking, ie unfeminine
Contrasted with male intellectual creativity and audacity.
The mother/daughter relations are conflictual, marked by ambivalence, especially when a woman is outstanding in some way.
LI says
Identity M/F is enacted via self positioning in language: speech and interaction, not writing. Lacan says patriarchy only has the male position, anything else is defective or castrated man.
1. Men see themselves as subjects in language. Women are self effacing; give precedence to men/world.
So if men think it is all about them, their masculinity, therefore the world revolves around them. I know I can be self-effacing, although I don't think I give precedence to men or the world. But I know I am a tiny cog in a bigger environment. But in the workplace, I certainly did not give precedence to the men, and they saw me as a challenge, partly because I did not sleep with them or drink with them - therefore refusing to be defined by their preferred role for my gender.
2. "I" by women is not necessarily feminine.
This makes me continue to wonder about the definition of feminine. To me it is not about being frilly, or gentle. Nor about procreation. But my definition of "I" includes activities and roles that historically were not feminine - managing a bank account; earning a salary that could support a family; owning my own home; holding a job that involved managing staff who were diverse by gender, race, age, faith, orientation. My "I" did not involve having a family. But I believe most men probably define women by lower earnings, producing babies, needing to be provided for. Does this mean women become 'object'? I think it does.
3. Women are familiar with being the vehicle of men's representation. Their self representation is largely absent.
I wonder how many female self portraits there are, compared to male? I have also recently read Laura Mulvey, where she concludes that cinema (usually created by a male director) trains women to view themselves (when sitting passively in the cinema) through the male gaze.
4. Women engage in dialogue; men privilege relations with the world and the object. Women privilege interpersonal relations. Does this go back to women being the child bearers/carers and men being the hunter/gatherer?
5. Women are not more emotional than men - their language effaces the expression of their subjectivity. So does this mean women need to change how they use language?
6. Women are less abstract than men and more contextual. (Not sure about how this statement is validated or what this means)
Socially determined linguistic practices creates sexual differences in the creation of messages and self positioning in language.
Critique of Freud and Lacan
1. These initiators of psychoanalysis was unaware of historical and philosophical determinates of their own discourse.
2. Psychoanalysis is governed by unconscious fantasies which are unanalysed.
3. Patriarchal - blind to own discourse.
All western culture rests on the murder of the mother (Oedipus complex).
LI's critique of patriarchy stresses death drive. Women's death drives are unsymbolised - destructive to both men and each other. (What is a death drive?)
Don't discard the Male/Female binary before the Female has acceded to identity and subjectivity. She stresses the creative power of the imagination. "Who are you?"
I agree that the M/F binary is useful. There is a lot of discussion around at present rejecting the m/f binary, but for my research purposes it is just a diversion. It is enough for me to get my head around the impact of being female, rather than male.
p190 Woman-Woman society
Few sexual models are ethical, especially porn and psychoanalysis. Men have socio-cultural power. Genotype-phenotype distinction.
Lots of reading is good. I conclude I know very little!
- focus on her appearance/relationship with Sartre;
- using her personal to discredit her political
- reduces political commitments to emotional problems
- presents her as a cold, uncaring female politician, i.e. not a woman
- bluestocking, ie unfeminine
Contrasted with male intellectual creativity and audacity.
The mother/daughter relations are conflictual, marked by ambivalence, especially when a woman is outstanding in some way.
LI says
Identity M/F is enacted via self positioning in language: speech and interaction, not writing. Lacan says patriarchy only has the male position, anything else is defective or castrated man.
1. Men see themselves as subjects in language. Women are self effacing; give precedence to men/world.
So if men think it is all about them, their masculinity, therefore the world revolves around them. I know I can be self-effacing, although I don't think I give precedence to men or the world. But I know I am a tiny cog in a bigger environment. But in the workplace, I certainly did not give precedence to the men, and they saw me as a challenge, partly because I did not sleep with them or drink with them - therefore refusing to be defined by their preferred role for my gender.
2. "I" by women is not necessarily feminine.
This makes me continue to wonder about the definition of feminine. To me it is not about being frilly, or gentle. Nor about procreation. But my definition of "I" includes activities and roles that historically were not feminine - managing a bank account; earning a salary that could support a family; owning my own home; holding a job that involved managing staff who were diverse by gender, race, age, faith, orientation. My "I" did not involve having a family. But I believe most men probably define women by lower earnings, producing babies, needing to be provided for. Does this mean women become 'object'? I think it does.
3. Women are familiar with being the vehicle of men's representation. Their self representation is largely absent.
I wonder how many female self portraits there are, compared to male? I have also recently read Laura Mulvey, where she concludes that cinema (usually created by a male director) trains women to view themselves (when sitting passively in the cinema) through the male gaze.
4. Women engage in dialogue; men privilege relations with the world and the object. Women privilege interpersonal relations. Does this go back to women being the child bearers/carers and men being the hunter/gatherer?
5. Women are not more emotional than men - their language effaces the expression of their subjectivity. So does this mean women need to change how they use language?
6. Women are less abstract than men and more contextual. (Not sure about how this statement is validated or what this means)
Socially determined linguistic practices creates sexual differences in the creation of messages and self positioning in language.
Critique of Freud and Lacan
1. These initiators of psychoanalysis was unaware of historical and philosophical determinates of their own discourse.
2. Psychoanalysis is governed by unconscious fantasies which are unanalysed.
3. Patriarchal - blind to own discourse.
All western culture rests on the murder of the mother (Oedipus complex).
LI's critique of patriarchy stresses death drive. Women's death drives are unsymbolised - destructive to both men and each other. (What is a death drive?)
Don't discard the Male/Female binary before the Female has acceded to identity and subjectivity. She stresses the creative power of the imagination. "Who are you?"
I agree that the M/F binary is useful. There is a lot of discussion around at present rejecting the m/f binary, but for my research purposes it is just a diversion. It is enough for me to get my head around the impact of being female, rather than male.
p190 Woman-Woman society
Few sexual models are ethical, especially porn and psychoanalysis. Men have socio-cultural power. Genotype-phenotype distinction.
Lots of reading is good. I conclude I know very little!
Friday 25 November 2016
Monica Ross exhibition at Chelsea School of Art
I knew about Monica Ross from her recitation of the Human Rights Act as a performance artwork. When I heard it, I did not really get it. But having seen her work at this exhibition, it all makes more sense. She was a feminist in the 1960/70s who made art about her domestic/female experience.
Monica Ross did a lot of performance art, was a member of Greenham Women and made a lot of political campaigning art. Exhibited were some of her suitcases with her performance accessories like shoes, toiletries, scarf, make-up etc (all brands from 1970s!) There were some wall mounted pieces of her work like campaign postcards and the Fenix (also Phoenix) magazine which was run by housewife members who did artwork and posted it to each other, while restricted by domestic/parenting duties. There were lots of her sketchbooks, which showed her preferred methods - lots of line drawings, silhouettes, blocking out backgrounds and speech bubbles saying subversive things. Many images with just black and white, or blocks of solid colour.
Monica Ross liked the public realm for art - "takes pressure off people not to have to go and look at specific objects with reverence".
" CR Group (not sure who they are) based on equal participation based on personal questions, not theoretical criticisms".
"Monochrom, shared space, fast methods - found objects, collage, photos, tapes - work aesthetically and are the outcome of packed lives".
" I've had doubts about how far you can state the personal/political equation in visual terms"
"Soft technology = accessibility"
"Competition (between artists) is irrelevant because the real issue is effective communication".
"The intent, not the artwork, was the issue. The process of making artwork as communication rather than the production of commodities was the issue".
Small exhibition, one room, but lots in it, and well worth seeing.
Monica Ross did a lot of performance art, was a member of Greenham Women and made a lot of political campaigning art. Exhibited were some of her suitcases with her performance accessories like shoes, toiletries, scarf, make-up etc (all brands from 1970s!) There were some wall mounted pieces of her work like campaign postcards and the Fenix (also Phoenix) magazine which was run by housewife members who did artwork and posted it to each other, while restricted by domestic/parenting duties. There were lots of her sketchbooks, which showed her preferred methods - lots of line drawings, silhouettes, blocking out backgrounds and speech bubbles saying subversive things. Many images with just black and white, or blocks of solid colour.
 |
| Page from Monica Ross sketchbook, personal statement Courtesy of monicaross.org |
Monica Ross liked the public realm for art - "takes pressure off people not to have to go and look at specific objects with reverence".
" CR Group (not sure who they are) based on equal participation based on personal questions, not theoretical criticisms".
"Monochrom, shared space, fast methods - found objects, collage, photos, tapes - work aesthetically and are the outcome of packed lives".
" I've had doubts about how far you can state the personal/political equation in visual terms"
"Soft technology = accessibility"
"Competition (between artists) is irrelevant because the real issue is effective communication".
"The intent, not the artwork, was the issue. The process of making artwork as communication rather than the production of commodities was the issue".
Small exhibition, one room, but lots in it, and well worth seeing.
Thursday 24 November 2016
Working out my presentation
Next week we have to give a 10 minute presentation to class on an aspect of our Methodology. I am not going to do a powerpoint, just have some visual aids and talk through it. I think my presentation will show how my methods cascade into each other.
1. Personal values table. Raw data provided by other people on the values they associate and how it is demonstrated. Value/positive behaviour/negative behaviour/object.
2. Sketchbook which develops comments and objects into a visual form.
3. Free association writing which develops the narrative about a behaviour or object
4. Self recording to gain a voice/colloquial feel.
5. Apply best ideas to stitch.
Pushing boundaries - art class, John Locke primary/secondary artwork - exhibition book Fritz Klemm - line image of me pushing a wall - writing about occasions when I have pushed boundaries (student exchange, Aus) - self-recording to enable auditory people to understand my reasoning
The cutting remark - art class cyanotype of scalpel - stories of my waspish remarks "If you knew your disciplinary procedures, you would not instruct me to issue a warning without an adequate fact finding!" - writing Bhuta's story - self-recording Bhuta's story - work a scalpel in stitch (yet to be resolved).
Visual aids:
1. Personal values table;
2. Values sketchbook and pushing figure;
3. Scalpel;
4. Exhibition book;
5. Facing the World exhibition catalogue;
6. Photo of stitch border.
1. Personal values table. Raw data provided by other people on the values they associate and how it is demonstrated. Value/positive behaviour/negative behaviour/object.
2. Sketchbook which develops comments and objects into a visual form.
3. Free association writing which develops the narrative about a behaviour or object
4. Self recording to gain a voice/colloquial feel.
5. Apply best ideas to stitch.
Pushing boundaries - art class, John Locke primary/secondary artwork - exhibition book Fritz Klemm - line image of me pushing a wall - writing about occasions when I have pushed boundaries (student exchange, Aus) - self-recording to enable auditory people to understand my reasoning
The cutting remark - art class cyanotype of scalpel - stories of my waspish remarks "If you knew your disciplinary procedures, you would not instruct me to issue a warning without an adequate fact finding!" - writing Bhuta's story - self-recording Bhuta's story - work a scalpel in stitch (yet to be resolved).
Visual aids:
1. Personal values table;
2. Values sketchbook and pushing figure;
3. Scalpel;
4. Exhibition book;
5. Facing the World exhibition catalogue;
6. Photo of stitch border.
Saturday 19 November 2016
Free Association Writing
Here I am writing what comes to mind, from terms used by contributors to my values table, or phrases I have identified in relation to my values.
Pushing Boundaries
Pushing Boundaries is important to me. I consciously started pushing boundaries when a particular opportunity that I wanted, turned out to be permanently closed to me. My way of dealing with one door being permanently closed, was to make another one open. I very much needed to achieve something significant.
Earlier in my life, I realise I had already been pushing boundaries, but this was to overcome other issues. The disappointment of my mother. She was disappointed that I was not a wife and mother, nor a middle class housewife. She thought a subservient clerical job was an achievement! 'Don't answer back', 'You've got to be grateful for your job'. 'But I'm really bored'. At this stage I had not realised I was bored because, actually, I was quite bright. So, pushing boundaries:
- Worked in HR in a junior management role - beyond the secretarial role, serving a man, writing his words. White collar admin role was what my Mum wanted. But I was bored. And I knew I could write my own words! I ran recruitment schemes; managed trainees; conducted discipline; presented to professional engineering organisations. Terrified but part of the role. Discovered the ability to work an audience.
- Professional qualification. Career, not a job. I was starting to recognise I was not just filling in time, working until I got married and had babies. I persuaded my female boss to sponsor me for a professional qualification - IPD. Was I clever enough to pass professional exams? Would I have anything sensible to contribute in class?
- Challenged my boss when I discovered she was disdainful of my relationship because my partner was 24 years older than me. The team were equally catty about her not having a relationship at all! - Starting to give my views, when I knew they would be unpalatable, back to management.
- Operational management. Could I manage shift work? I wanted to earn serious money. This meant I had to hack the shifts. Could I cope with the blue collar manual environment? Turned out the staff were no problem - my peer group and senior managers were.
- Arguing for equal pay claims for self and others. Refusing to be fobbed off. I negotiated 5% and 15% for self. Taking on others equal pay claims. Everyone I advised, won. All of them were either black or female!
- Going to uni as a mature student. Worrying that I was not bright enough, intellectually or creatively, to keep up. Worrying that I was too old to interact with trendy young students.
- Taking severance to move to retired status. Terrified about leaving a well paid job with fantastic benefits. Will I have enough to live on? Will I be able to keep myself productively occupied?
- Going to Study Abroad. Absolutely terrified me. But if I don't go, I will be bored. I don't know where I am going to live. Never lived in rented accommodation. Never lived abroad. Different education system - will I keep up? Culture shock. Rose to challenge - had to rise a long way! Had to HUGELY raise my game to keep up.
Am I still pushing my boundaries now? Not really. Not in comparison to what I have done before.
"Sometimes people need to be given a firm push in the right direction - Go fly!".
Soup/Flask
I make soup as I need to take on more fluids so I don't turn into my mother. I know I don't drink enough, and I keep forgetting to drink, but I like soup so it's one way of getting fluids into me. Home made soup is ore nutritious than shop. It usually uses ingredients that are free - home grown fresh veg; or cheap - lentils; or leftovers/stock - which avoids waste. I abhor waste. Why do we put so much into landfill? Waste really bothers me, so we try not to create it.
The flash is an effective way of transporting soup when no microwave is at a venue. Like the Shedio or uni. Also does not nuke the food. Maintains nutrients.
Makes me feel economical and thrifty. This is why I have plenty of money. Don't waste money on shop food - put it to fund my education fees instead.
Eco friendly - best use of resources. Little waste. Fewer food miles.
"Wholesome"
Defending the voiceless and the vulnerable
I have got myself into no end of trouble, usually at work, when I have defended other members of staff. I am naturally vocal and argumentative, especially when I perceive injustice. Sometimes this has meant I have mouthed off when I don't know the full story. But when I think people are treated more severely because of who they are - ethnic minorities, women, gay, disabled, or just unlikely to argue back - I jump into the argument. Like Bhuta, being given a warning, with inadequate fact finding - he was a low caste, low grade, Bangladeshi; Alex, being downgraded, because she was a part-timer with care responsibilities; Anita as a junior clerk being dismissed because of a minor clerical error.
I share my employment law knowledge when illegal actions are being taken against other people. I have a strong sense of justice.
"If you want to discipline Bhuta, you will do a proper fact finding"
Honesty
I find this value difficult to describe. I think honesty makes life easier. Liars need a good memory. I dislike being lied to. If all are treated fairly, then there is no need to lie. Lies cause hurt. Life should have space for disagreement. How does honesty get depicted? What does honesty mean to different people. Where is the space between honesty - telling the truth, and privacy - the right to keep things to oneself.
Caring for the Vulnerable
I find this one difficult as well. Yes, I care for the vulnerable - but only up to a point. I want benefits for people who are unable to work - I was brought up on benefit and my family would be decimated had the state not hugely supported us. But I also see rewarding constant failure leads to dependency - which was my family circumstance. I believe people should be taught how to be independent - to be able to cope with tough times. I try to support those around me, but I am not prepared to be a constant crutch for those who won't support themselves. My Dad completely ran out of good will with me. Yet I do what I can to support my sister-in-law who is a carer. There is something in here about how I will support others 'when it suits me'. I think my honesty here, leads me to say some tough and hurtful things, when I think the vulnerable are playing the system.
Work Ethic
I think my upbringing in a protestant country shows here. I believe I work hard - because it brings financial and creative rewards, leads to mental and financial independence, maintains physical and mental well-being. I have absolutely no time for people who sit around doing nothing, especially when they moan about how hard life is.
Pushing Boundaries
Pushing Boundaries is important to me. I consciously started pushing boundaries when a particular opportunity that I wanted, turned out to be permanently closed to me. My way of dealing with one door being permanently closed, was to make another one open. I very much needed to achieve something significant.
Earlier in my life, I realise I had already been pushing boundaries, but this was to overcome other issues. The disappointment of my mother. She was disappointed that I was not a wife and mother, nor a middle class housewife. She thought a subservient clerical job was an achievement! 'Don't answer back', 'You've got to be grateful for your job'. 'But I'm really bored'. At this stage I had not realised I was bored because, actually, I was quite bright. So, pushing boundaries:
- Worked in HR in a junior management role - beyond the secretarial role, serving a man, writing his words. White collar admin role was what my Mum wanted. But I was bored. And I knew I could write my own words! I ran recruitment schemes; managed trainees; conducted discipline; presented to professional engineering organisations. Terrified but part of the role. Discovered the ability to work an audience.
- Professional qualification. Career, not a job. I was starting to recognise I was not just filling in time, working until I got married and had babies. I persuaded my female boss to sponsor me for a professional qualification - IPD. Was I clever enough to pass professional exams? Would I have anything sensible to contribute in class?
- Challenged my boss when I discovered she was disdainful of my relationship because my partner was 24 years older than me. The team were equally catty about her not having a relationship at all! - Starting to give my views, when I knew they would be unpalatable, back to management.
- Operational management. Could I manage shift work? I wanted to earn serious money. This meant I had to hack the shifts. Could I cope with the blue collar manual environment? Turned out the staff were no problem - my peer group and senior managers were.
- Arguing for equal pay claims for self and others. Refusing to be fobbed off. I negotiated 5% and 15% for self. Taking on others equal pay claims. Everyone I advised, won. All of them were either black or female!
- Going to uni as a mature student. Worrying that I was not bright enough, intellectually or creatively, to keep up. Worrying that I was too old to interact with trendy young students.
- Taking severance to move to retired status. Terrified about leaving a well paid job with fantastic benefits. Will I have enough to live on? Will I be able to keep myself productively occupied?
- Going to Study Abroad. Absolutely terrified me. But if I don't go, I will be bored. I don't know where I am going to live. Never lived in rented accommodation. Never lived abroad. Different education system - will I keep up? Culture shock. Rose to challenge - had to rise a long way! Had to HUGELY raise my game to keep up.
Am I still pushing my boundaries now? Not really. Not in comparison to what I have done before.
"Sometimes people need to be given a firm push in the right direction - Go fly!".
Soup/Flask
I make soup as I need to take on more fluids so I don't turn into my mother. I know I don't drink enough, and I keep forgetting to drink, but I like soup so it's one way of getting fluids into me. Home made soup is ore nutritious than shop. It usually uses ingredients that are free - home grown fresh veg; or cheap - lentils; or leftovers/stock - which avoids waste. I abhor waste. Why do we put so much into landfill? Waste really bothers me, so we try not to create it.
The flash is an effective way of transporting soup when no microwave is at a venue. Like the Shedio or uni. Also does not nuke the food. Maintains nutrients.
Makes me feel economical and thrifty. This is why I have plenty of money. Don't waste money on shop food - put it to fund my education fees instead.
Eco friendly - best use of resources. Little waste. Fewer food miles.
"Wholesome"
Defending the voiceless and the vulnerable
I have got myself into no end of trouble, usually at work, when I have defended other members of staff. I am naturally vocal and argumentative, especially when I perceive injustice. Sometimes this has meant I have mouthed off when I don't know the full story. But when I think people are treated more severely because of who they are - ethnic minorities, women, gay, disabled, or just unlikely to argue back - I jump into the argument. Like Bhuta, being given a warning, with inadequate fact finding - he was a low caste, low grade, Bangladeshi; Alex, being downgraded, because she was a part-timer with care responsibilities; Anita as a junior clerk being dismissed because of a minor clerical error.
I share my employment law knowledge when illegal actions are being taken against other people. I have a strong sense of justice.
"If you want to discipline Bhuta, you will do a proper fact finding"
Honesty
I find this value difficult to describe. I think honesty makes life easier. Liars need a good memory. I dislike being lied to. If all are treated fairly, then there is no need to lie. Lies cause hurt. Life should have space for disagreement. How does honesty get depicted? What does honesty mean to different people. Where is the space between honesty - telling the truth, and privacy - the right to keep things to oneself.
Caring for the Vulnerable
I find this one difficult as well. Yes, I care for the vulnerable - but only up to a point. I want benefits for people who are unable to work - I was brought up on benefit and my family would be decimated had the state not hugely supported us. But I also see rewarding constant failure leads to dependency - which was my family circumstance. I believe people should be taught how to be independent - to be able to cope with tough times. I try to support those around me, but I am not prepared to be a constant crutch for those who won't support themselves. My Dad completely ran out of good will with me. Yet I do what I can to support my sister-in-law who is a carer. There is something in here about how I will support others 'when it suits me'. I think my honesty here, leads me to say some tough and hurtful things, when I think the vulnerable are playing the system.
Work Ethic
I think my upbringing in a protestant country shows here. I believe I work hard - because it brings financial and creative rewards, leads to mental and financial independence, maintains physical and mental well-being. I have absolutely no time for people who sit around doing nothing, especially when they moan about how hard life is.
Seminar reading The Waste Land, and tutorial
Today's class was a reading of one page of TS Eliot's The Wasteland. It was designed to question whether you can analyse a poem or piece of writing in the same way as we read the exhibition last week.
Our class debated what we got out of the reading - I could visualise the area Eliot was talking about, as it referred to industrial parts of the Thames, and I had had to inspect an area of the river wall when I worked at Shadwell. We debated when we thought it had been written, and how that impacted on the description. I had picked up on descriptions of city gentlemen and the sound of horns and motors every now and then, and thought it was written in the 1930s. Actually it was immediately post WW1, as he was referring to the river mud in relation to the trenches in which he had fought. I am still not sure whether he was writing about the Thames in London, the trenches of WW1 or whether he is moving between the two of them.
Other people picked up on the time of day, and seasons (which had completely passed me by). Other students mentioned varied realities - City directors compared to nymphs. Our international students (speaking English as a second language) found it unintelligible - unsurprising, given how difficult the native English speakers found it!
Danielle said the poem was nearly not published - the publishers demanded Eliot put explanatory notes in, to explain what he meant, in order for them to publish it. The notes explain some of the cultural setting, often about classical references, but do not add much understanding.
We debated what was contemporary? Was it this poem? Not to me. Is contemporary 20th century, your lifetime, or now. General consensus was your lifetime - but this depends on how old you are. I think it is within the last 30 years.
Danielle likened reading one page of a poem to one image in an exhibition. Seen separately it gives a different reading to being seen as part of a group or narrative. Also I accept that 'hard reading' is part of being a student. So therefore I should accept 'hard looking' being another aspect of being a student. Hard looking needs an activity to facilitate understanding.
Conceptual blending - means to suspend critical thinking while combining concepts.
Research - essential for the creation of new insights for self and others. This is not easy! (Just as well, as I am struggling with my self portrait - it is making me feel really uncomfortable!).
Our class debated what we got out of the reading - I could visualise the area Eliot was talking about, as it referred to industrial parts of the Thames, and I had had to inspect an area of the river wall when I worked at Shadwell. We debated when we thought it had been written, and how that impacted on the description. I had picked up on descriptions of city gentlemen and the sound of horns and motors every now and then, and thought it was written in the 1930s. Actually it was immediately post WW1, as he was referring to the river mud in relation to the trenches in which he had fought. I am still not sure whether he was writing about the Thames in London, the trenches of WW1 or whether he is moving between the two of them.
Other people picked up on the time of day, and seasons (which had completely passed me by). Other students mentioned varied realities - City directors compared to nymphs. Our international students (speaking English as a second language) found it unintelligible - unsurprising, given how difficult the native English speakers found it!
Danielle said the poem was nearly not published - the publishers demanded Eliot put explanatory notes in, to explain what he meant, in order for them to publish it. The notes explain some of the cultural setting, often about classical references, but do not add much understanding.
We debated what was contemporary? Was it this poem? Not to me. Is contemporary 20th century, your lifetime, or now. General consensus was your lifetime - but this depends on how old you are. I think it is within the last 30 years.
Danielle likened reading one page of a poem to one image in an exhibition. Seen separately it gives a different reading to being seen as part of a group or narrative. Also I accept that 'hard reading' is part of being a student. So therefore I should accept 'hard looking' being another aspect of being a student. Hard looking needs an activity to facilitate understanding.
Conceptual blending - means to suspend critical thinking while combining concepts.
Research - essential for the creation of new insights for self and others. This is not easy! (Just as well, as I am struggling with my self portrait - it is making me feel really uncomfortable!).
Friday 11 November 2016
Commission on Older Women
http://www.policyforum.labour.org.uk/uploads/editor/files/Commission_on_Older_Women_-_Interim_Report.pdf
Written in 2013 by Fiona MacTaggart, MP (no relation!).
Older women are typically depicted in stereotyped ways in public life. They are valued on looks rather than as subject experts. Decorative rather than illustrative. Men over 50 are deemed 'rugged' or 'distinguished' whereas women over 50 are usually the butt of humour as the comic battle-axe, or a victim. When used in advertising, women over 50 typically promote age-oriented products like stairlifts, baths and wills.
Over 50s in the UK - 53% women
Over 50s UK tv presenters - 18% woman
TV presenters as a whole reflect the population - 30% tv presenters >50, 34% population >50
7% of total TV workforce are women >50
Therefore women >50 are not well represented in television
News and current affairs programmes - men outnumber women 4:1. >50 women disappear, especially in primetime. If >50 women are represented, it will be on daytime tv.
There is a difference in representation between tv and radio. The woman least likely to appear as an expert on UK tv is a woman with a regional accent aged over 50. Radio appears to use more older woman with an accent, probably due to preferences on tv for a young appearance.
Written in 2013 by Fiona MacTaggart, MP (no relation!).
Older women are typically depicted in stereotyped ways in public life. They are valued on looks rather than as subject experts. Decorative rather than illustrative. Men over 50 are deemed 'rugged' or 'distinguished' whereas women over 50 are usually the butt of humour as the comic battle-axe, or a victim. When used in advertising, women over 50 typically promote age-oriented products like stairlifts, baths and wills.
Over 50s in the UK - 53% women
Over 50s UK tv presenters - 18% woman
TV presenters as a whole reflect the population - 30% tv presenters >50, 34% population >50
7% of total TV workforce are women >50
Therefore women >50 are not well represented in television
News and current affairs programmes - men outnumber women 4:1. >50 women disappear, especially in primetime. If >50 women are represented, it will be on daytime tv.
There is a difference in representation between tv and radio. The woman least likely to appear as an expert on UK tv is a woman with a regional accent aged over 50. Radio appears to use more older woman with an accent, probably due to preferences on tv for a young appearance.
Reading about Feminist Values
Cook, Elizabeth Adell, and Clyde Wilcox. “Feminism and the Gender Gap--A Second Look.” The Journal of Politics, vol. 53, no. 4, 1991, pp. 1111–1122. www.jstor.org/stable/2131869.
Cook and Wilcox state feminist values are created by differences in socialisation and distinctive aspects of the female experience, which are different to men's experience. This includes caring and nurturance via the motherhood role; low support for violence and war; and leads to higher support for the disadvantaged. Feminism is a strong predictor of political values and attitudes and policy preferences. Feminism can be supported by men as well as women. Male feminists support feminine issues and are likely to be politically liberal.
Conover, Pamela Johnston. “Feminists and the Gender Gap.” The Journal of Politics, vol. 50, no. 4, 1988, pp. 985–1010. www.jstor.org/stable/2131388.
This article considers:
How and why women's values differ from men's?
How do such values appear in political preferences?
What is the empirical evidence?
Political research in the US in 1988 shows women believes their values are:
morally superior to men;
social constructs that are derived from male/female role play in a patriarchal society;
a perception of female difference comes from pride confidence, hope and superiority rather than inferiority or inadequacy.
Women believe a woman centred female experience gives a unique source of values for society. Ruddick (1980) focussed on women's focus on their children shaped their view of the world. This evolved in 1982 by C Gilligan theorising that women were more oriented to interpersonal relationships - by motherhood developing a morality/caring/ responsibility towards others. It was due to the motherhood role that women were analysed to be more positive towards growth and change, and their decisions being based upon compassion, caring and eco-friendliness. Men were more concerned with rights and rules, and making their moral decisions by their definition of justice and fairness.
In political preferences, unless there is a feminist identity and consciousness, a woman's values usually lie dormant beneath a patriarchal culture. Therefore Women's values should be expressed by feminists and more obviously reflect in feminist politics. Promoting a woman's values into politics may increase the democratic nature of party politics.
Feminine values are largely overwhelmed by masculine values in a patriarchal society like the US.
Feminine values:
Sense of egalitarianism
Lack of symbolic racism
Liberal ideology (open minded)
Tendency to reject moral traditionalism (outside of church rule system)
Modern concept of sex rules (challenges homemaker/breadwinner split0
Sympathy for the disadvantaged.
Generally women's perspective is characterised by an ethic of caring.
These values seem to mark me clearly as a feminist! I think all of these issues came out in my values table!
Cook and Wilcox state feminist values are created by differences in socialisation and distinctive aspects of the female experience, which are different to men's experience. This includes caring and nurturance via the motherhood role; low support for violence and war; and leads to higher support for the disadvantaged. Feminism is a strong predictor of political values and attitudes and policy preferences. Feminism can be supported by men as well as women. Male feminists support feminine issues and are likely to be politically liberal.
Conover, Pamela Johnston. “Feminists and the Gender Gap.” The Journal of Politics, vol. 50, no. 4, 1988, pp. 985–1010. www.jstor.org/stable/2131388.
This article considers:
How and why women's values differ from men's?
How do such values appear in political preferences?
What is the empirical evidence?
Political research in the US in 1988 shows women believes their values are:
morally superior to men;
social constructs that are derived from male/female role play in a patriarchal society;
a perception of female difference comes from pride confidence, hope and superiority rather than inferiority or inadequacy.
Women believe a woman centred female experience gives a unique source of values for society. Ruddick (1980) focussed on women's focus on their children shaped their view of the world. This evolved in 1982 by C Gilligan theorising that women were more oriented to interpersonal relationships - by motherhood developing a morality/caring/ responsibility towards others. It was due to the motherhood role that women were analysed to be more positive towards growth and change, and their decisions being based upon compassion, caring and eco-friendliness. Men were more concerned with rights and rules, and making their moral decisions by their definition of justice and fairness.
In political preferences, unless there is a feminist identity and consciousness, a woman's values usually lie dormant beneath a patriarchal culture. Therefore Women's values should be expressed by feminists and more obviously reflect in feminist politics. Promoting a woman's values into politics may increase the democratic nature of party politics.
Feminine values are largely overwhelmed by masculine values in a patriarchal society like the US.
Feminine values:
Sense of egalitarianism
Lack of symbolic racism
Liberal ideology (open minded)
Tendency to reject moral traditionalism (outside of church rule system)
Modern concept of sex rules (challenges homemaker/breadwinner split0
Sympathy for the disadvantaged.
Generally women's perspective is characterised by an ethic of caring.
These values seem to mark me clearly as a feminist! I think all of these issues came out in my values table!
Matt Mullican exhibition, Camden Arts Centre and South African Art at British Museum
We had a class visit to the Matt Mullican exhibition at Camden Arts Centre, to think about how we used and reflected on an exhibition. I found it a totally unappealing exhibition. Other students loved it. I found it hyper-regimented, repetitive, symmetrical and unintelligible. I failed to understand the purpose of the exhibition, despite reading the script outside the front door.
As a class we debated how the exhibition made us feel (uncomfortable - me), what the curator's intention was (I had no idea) and what the artists intention was (to represent a library - which was completely lost on me). The entry script was too long, too obscure and when I had waded through all of it, I summed it up as "art bollocks". When I shared this in the class discussion, I got a look of disapproval from Danielle!
I started wondering whether I was an inadequate art student as I really did not get the exhibition.
Then Lieta and I went to the South African art exhibition at the British Museum. We both very much enjoyed the exhibition. Lieta was critical about how it jumped from ancient history and indigenous drawings to the advent of European invasion. I liked the nuggets of social history included in the exhibition - how the South African coat of arms is derived from rock painting, the motto is written in an extinct ancient language which means Diverse People Unite and includes indigenous symbols - the sun, secretary bird, protea flower, the spear and club, elephant tusks, ears of wheat and motto.
I also liked the beaded necklace which had Victorian pennies as snuff box pendants on the bottom. The object description said the white Europeans thought this was a respectful symbol of acceptance of white superiority, but actually it was a subversive sign that the indigenous culture was a head-hunting culture and they were wearing a disembodied head as a necklace! Love it! Understanding the codes, enriches the reading of the object.
So analysing the difference between the 2 exhibitions - I like a bit of narrative with the event. I like reading clearly written curatorial statements. I like thinking about the political aspects of creating and staging an exhibition. I like finding things that are a bit subversive - where the under-represented group has thumbed its nose at authority … and got away with it.
I like the object - and it surprised me that I found the first exhibition so difficult. But I like the object with a narrative that is available to me, and I often like an object with a patina of wear - like my Mum's old wooden spoon. Maybe this is why I don't like things in modern contemporary galleries - too new and too perfect? Too much like a posh shop? I am not into shopping. Or collecting for myself. I prefer museums to galleries. And I consider London's bigger art galleries to be museums. I like to look, think, and reflect. And I enjoy a day out.
As a class we debated how the exhibition made us feel (uncomfortable - me), what the curator's intention was (I had no idea) and what the artists intention was (to represent a library - which was completely lost on me). The entry script was too long, too obscure and when I had waded through all of it, I summed it up as "art bollocks". When I shared this in the class discussion, I got a look of disapproval from Danielle!
 |
| Matt Mullican Exhibition Image courtesy of Camden Arts Centre. |
 |
| Matt Mullican Exhibition Image courtesy of Camden Arts Centre |
Then Lieta and I went to the South African art exhibition at the British Museum. We both very much enjoyed the exhibition. Lieta was critical about how it jumped from ancient history and indigenous drawings to the advent of European invasion. I liked the nuggets of social history included in the exhibition - how the South African coat of arms is derived from rock painting, the motto is written in an extinct ancient language which means Diverse People Unite and includes indigenous symbols - the sun, secretary bird, protea flower, the spear and club, elephant tusks, ears of wheat and motto.
 |
| South African coat of arms wef year 2000 Courtesy of Wikipedia |
 |
| Xhosa necklace with snuff boxes, courtesy of British Museum. |
So analysing the difference between the 2 exhibitions - I like a bit of narrative with the event. I like reading clearly written curatorial statements. I like thinking about the political aspects of creating and staging an exhibition. I like finding things that are a bit subversive - where the under-represented group has thumbed its nose at authority … and got away with it.
I like the object - and it surprised me that I found the first exhibition so difficult. But I like the object with a narrative that is available to me, and I often like an object with a patina of wear - like my Mum's old wooden spoon. Maybe this is why I don't like things in modern contemporary galleries - too new and too perfect? Too much like a posh shop? I am not into shopping. Or collecting for myself. I prefer museums to galleries. And I consider London's bigger art galleries to be museums. I like to look, think, and reflect. And I enjoy a day out.
Wednesday 9 November 2016
The Self as Decentred - session 6
I found this a hard session. I did not really understand the reading - by Kodwo Eshun about Afrofuturism. Complicated language which was unpicked to be more understandable when simply phrased (!) and a couple of really strange videos.
We had a debate about intersectionality, which is where people occupy more than one place of minority status which increases the likelihood of unfair discrimination, e.g. being gay and black, or disabled and female. Increasingly I am considering how the framing of a situation impacts on the reading of it. I had colleagues who really did not understand how being white, male and straight gave them huge advantages, simply because they were unable to comprehend how their framing did not acknowledge the difficulties presented to less favoured people.
My class had an exercise to identify categories of diversity, then classify them whether they were biological or social/cultural.
Age - Biological
Race - B and SC
Language - SC
Education - SC
Sexuality - B
Literacy - SC
Class - SC
Upbringing - SC
Parentage (born/adopted/fostered) - B/SC
Urban/rural - S
Disability - B/SC
Faith - SC
Caste - SC
Nationality - SC
Blood group - B
We were asked whether we could see Museums and Galleries representing a wide range of categories listed above. One (left wing) class member rather snottily said she felt she would be really sad if she needed to go to museums to look at diversity. I zipped my mouth and reflected that I often went to museum exhibitions and noted when diverse people were represented. When I started going to the NPG Portrait competitions, c 30 years ago with my Mum, the majority of people represented were 'white respectables'. Over the years, more diverse people have been portrayed, for example, a heavily tattooed Southampton football fan, a Belgian man with a learning disability, a man from Auschwitz, lesbian daughter and partner, a man with a port wine birthmark, a black South African woman, the artist's mother just after her passing. I believe this evolution is a good thing. Exhibitions not overtly about representation have also shown diversity - the NPG Arts & Crafts exhibition included work by May Morris and explained how it was attributed to her, and also had a piece about Edward Carpenter, a homosexual, sandal wearing, man (whose sandal I drew). I think the class member who sneered at the question, missed the point that it is by the content of museum exhibitions that the policy decisions can be identified, and it is the policy that needs to be fair, and implemented.
Stuart Hall is a key writer on multiculturalism.
Multi-cultural - adjective - common to life today.
Multi-culturalism - strategy and policy to manage problems of diversity.
We had a debate about intersectionality, which is where people occupy more than one place of minority status which increases the likelihood of unfair discrimination, e.g. being gay and black, or disabled and female. Increasingly I am considering how the framing of a situation impacts on the reading of it. I had colleagues who really did not understand how being white, male and straight gave them huge advantages, simply because they were unable to comprehend how their framing did not acknowledge the difficulties presented to less favoured people.
My class had an exercise to identify categories of diversity, then classify them whether they were biological or social/cultural.
Age - Biological
Race - B and SC
Language - SC
Education - SC
Sexuality - B
Literacy - SC
Class - SC
Upbringing - SC
Parentage (born/adopted/fostered) - B/SC
Urban/rural - S
Disability - B/SC
Faith - SC
Caste - SC
Nationality - SC
Blood group - B
We were asked whether we could see Museums and Galleries representing a wide range of categories listed above. One (left wing) class member rather snottily said she felt she would be really sad if she needed to go to museums to look at diversity. I zipped my mouth and reflected that I often went to museum exhibitions and noted when diverse people were represented. When I started going to the NPG Portrait competitions, c 30 years ago with my Mum, the majority of people represented were 'white respectables'. Over the years, more diverse people have been portrayed, for example, a heavily tattooed Southampton football fan, a Belgian man with a learning disability, a man from Auschwitz, lesbian daughter and partner, a man with a port wine birthmark, a black South African woman, the artist's mother just after her passing. I believe this evolution is a good thing. Exhibitions not overtly about representation have also shown diversity - the NPG Arts & Crafts exhibition included work by May Morris and explained how it was attributed to her, and also had a piece about Edward Carpenter, a homosexual, sandal wearing, man (whose sandal I drew). I think the class member who sneered at the question, missed the point that it is by the content of museum exhibitions that the policy decisions can be identified, and it is the policy that needs to be fair, and implemented.
Stuart Hall is a key writer on multiculturalism.
Multi-cultural - adjective - common to life today.
Multi-culturalism - strategy and policy to manage problems of diversity.
Ken Robinson - Creativity TED talks
Quick notes on Ken Robinson's TED creativity ted talks.
Creativity - his definition - the process of having original ideas that have value.
3 types of intelligence: Diverse, Dynamic, Distinct.
Diverse - acquired kinaesthetically, visually, aurally, abstract movement. Gather data anyway you want. It does not have to come solely via reading and writing.
Dynamic - Interactive, via different, distinct ways of seeing. Women have a thicker, better, bit of the brain for multi-tasking.
Distinct - how to discover talent.
Arts education is better for the aesthetic experience. Requires senses operating at peak in the current moment. The excitement of now. Anaesthetic - shuts off senses - ritalin! We need to wake up to what is inside.
Modern education is about conformity, standardisation, and curriculum - we need to change the paradigm. Divergent thinking - i.e. arts education - is an essential capacity for creativity. Lots of capacity for answers, different ways to interpret a question. Multiple answers, not one.
Creativity - his definition - the process of having original ideas that have value.
3 types of intelligence: Diverse, Dynamic, Distinct.
Diverse - acquired kinaesthetically, visually, aurally, abstract movement. Gather data anyway you want. It does not have to come solely via reading and writing.
Dynamic - Interactive, via different, distinct ways of seeing. Women have a thicker, better, bit of the brain for multi-tasking.
Distinct - how to discover talent.
Arts education is better for the aesthetic experience. Requires senses operating at peak in the current moment. The excitement of now. Anaesthetic - shuts off senses - ritalin! We need to wake up to what is inside.
Modern education is about conformity, standardisation, and curriculum - we need to change the paradigm. Divergent thinking - i.e. arts education - is an essential capacity for creativity. Lots of capacity for answers, different ways to interpret a question. Multiple answers, not one.
Tuesday 8 November 2016
The Self as Creative. Session 5
Ian, the City Lit tutor, recapped where we had got to.
Gen Doy, The Modern Self says the Cartesian and Freudian self is male - challenged by the feminine.
The Essential ego is rational, and conflicts with the unconscious true self id.
Female subjectivity is constructed by men and challenged/reclaimed by feminists.
Post colonial theory concerns 'othering' by while westernised men (Stuart Hall).
Contemporary self - non essentialist yet in possession of agency - the potential to build the self "I create myself - therefore I am"
Post modernist self - identity is a social construct, fragmented, plural, external and imposed. There is no true self - "I can be anybody".
Creativity - a network of connections, using self as subjectivity. Self has agency to make connections. Self has the acceptance of imperfection; differences, and many right answers.
I did not really understand the debate about what the creative self is.
Originality?
Seeing in a new way (to you) for self
Authentic
Self belief and determination
Overcome self doubt
Creativity of the hand - just make.
Look at Ken Robinson Ted Talks on creativity. The power of the collective creativity.
Gen Doy, The Modern Self says the Cartesian and Freudian self is male - challenged by the feminine.
The Essential ego is rational, and conflicts with the unconscious true self id.
Female subjectivity is constructed by men and challenged/reclaimed by feminists.
Post colonial theory concerns 'othering' by while westernised men (Stuart Hall).
Contemporary self - non essentialist yet in possession of agency - the potential to build the self "I create myself - therefore I am"
Post modernist self - identity is a social construct, fragmented, plural, external and imposed. There is no true self - "I can be anybody".
Creativity - a network of connections, using self as subjectivity. Self has agency to make connections. Self has the acceptance of imperfection; differences, and many right answers.
I did not really understand the debate about what the creative self is.
Originality?
Seeing in a new way (to you) for self
Authentic
Self belief and determination
Overcome self doubt
Creativity of the hand - just make.
Look at Ken Robinson Ted Talks on creativity. The power of the collective creativity.
Saturday 5 November 2016
Sexes and Genealogies, Luce Irigaray. Reading
Luce Irigaray, Sexes and Genealogies, 1987 Columbia University Press, translated by Gillian C Gill 1993, New York
Men's speech, men's values, dreams and desires are law. Men define the function and the social role of women, even the sexual identity that women are allowed. Woman's desire is what the law of the father prohibits. The father, in whatever role, intervenes to censure and repress the mother's desire, on the grounds of reasonableness and virtue! p11
Women lack the definition of values belonging to them. When these values are defined, they are often condemned by other women, who condone the male paradigm. Female identity is reduced to the empirical parameters of questions like "Have you a relationship?", "Are you married?" "Who is your husband?", "Do you have any children?" This means woman is defined by a social function, not a female identity and autonomy. p72
Men do not expect to work for nothing. Yet women are. When women work for nothing they acquiesce to censorship of trade. This means women sacrifice their financial well-being, and by being repressed, they perpetuate it. It is deemed normal and moral for a woman to receive no/minimal payment. Societies assume the mother should feed the child for free,before and after birth, and become the nurse of man and of society. This traditional role of woman paralyses male society and condones the wanton destruction of the natural reserves of life. It creates the illusion that food should come to us free, and is inexhaustible. Women can never fail us, especially mothers. Women who are stay-at-home mothers use their children to create a market status for themselves as objects of value. This fits with Freud's theory that women only become socially valuable when they attain motherhood (which is seen as an achievement). Procreation becomes a fixed standard - and the realisation of this gives understanding to the fuss about contraception and abortion. The value underpinning human society for millennia has been procreation. So being able to control procreation to the benefit of the woman challenges the male value system. When women are not restricted by children, they are not restricted to the polemics and rules of the private sphere. Woman can enter the public sphere, with its consequent expectation of being paid for her work. But the value system has not been readjusted to take account of intellectual labour and of women as social resources. Thinkers and women do not receive any reward for social functioning. p81-85
This has personal resonance for me. It articulates why I am seen as having less value than other female family members. I do not have market value as I do not have children. My abilities outside the home are ignored because that is outside the value system of the private sphere.
Art is essential for a culture of affective relationships as this is where individual, bodily matter can be transferred, explored and publicised. Without art, gender is reduced to sexuality. There is an historic gap between culture for female genealogies and culture of patriarchal hegemony. The patriarchal hegemony of art needs to be recognised and changed. p165
Men's speech, men's values, dreams and desires are law. Men define the function and the social role of women, even the sexual identity that women are allowed. Woman's desire is what the law of the father prohibits. The father, in whatever role, intervenes to censure and repress the mother's desire, on the grounds of reasonableness and virtue! p11
Women lack the definition of values belonging to them. When these values are defined, they are often condemned by other women, who condone the male paradigm. Female identity is reduced to the empirical parameters of questions like "Have you a relationship?", "Are you married?" "Who is your husband?", "Do you have any children?" This means woman is defined by a social function, not a female identity and autonomy. p72
Men do not expect to work for nothing. Yet women are. When women work for nothing they acquiesce to censorship of trade. This means women sacrifice their financial well-being, and by being repressed, they perpetuate it. It is deemed normal and moral for a woman to receive no/minimal payment. Societies assume the mother should feed the child for free,before and after birth, and become the nurse of man and of society. This traditional role of woman paralyses male society and condones the wanton destruction of the natural reserves of life. It creates the illusion that food should come to us free, and is inexhaustible. Women can never fail us, especially mothers. Women who are stay-at-home mothers use their children to create a market status for themselves as objects of value. This fits with Freud's theory that women only become socially valuable when they attain motherhood (which is seen as an achievement). Procreation becomes a fixed standard - and the realisation of this gives understanding to the fuss about contraception and abortion. The value underpinning human society for millennia has been procreation. So being able to control procreation to the benefit of the woman challenges the male value system. When women are not restricted by children, they are not restricted to the polemics and rules of the private sphere. Woman can enter the public sphere, with its consequent expectation of being paid for her work. But the value system has not been readjusted to take account of intellectual labour and of women as social resources. Thinkers and women do not receive any reward for social functioning. p81-85
This has personal resonance for me. It articulates why I am seen as having less value than other female family members. I do not have market value as I do not have children. My abilities outside the home are ignored because that is outside the value system of the private sphere.
Art is essential for a culture of affective relationships as this is where individual, bodily matter can be transferred, explored and publicised. Without art, gender is reduced to sexuality. There is an historic gap between culture for female genealogies and culture of patriarchal hegemony. The patriarchal hegemony of art needs to be recognised and changed. p165
Friday 4 November 2016
Tutorial with Linden
I had a great tutorial with Linden yesterday.
I showed her my sketchbook developments from the Expressive Printmaking class. She read quite a lot into the different shoulder positions of my mono print self portraits. We discussed the impact of the blue colour of the cyanotype, particularly on the plywood piece, and concluded the blue/pornography interpretation was not one that I wanted to follow up. I said I saw the imagery transferring to the sampler format with a line drawing of my naked form, quite small, possibly pushing the honesty border around the hemmed edge of the work. I am not sure how many self portrait forms there will be on the sampler. There will be words on it, but not as speech bubbles (Linden's query). Also, Linden's view was that as it is a self portrait, the human forms(s) should be singletons, but I am not sure whether I want to put people 'shoulder to shoulder' as this is how I see myself when supporting or defending their position. I need to get cracking with this sampler - my tennis elbow has improved to the extent I think I can manage an hour a day.
We discussed my reading of Laura Mulvey, Visual Pleasure and Narrative Cinema, 1975, Screen 16.3 Autumn 1975 pp6-18 http://www.jahsonic.com/VPNC.html I summed it up as describing how cinema (mostly created by a male director) trained women to view other women through the male gaze. Linden said the ability to sum up a whole article in one sentence and then apply it to everyday life, was a theoretical innovation. Oh good! I just thought it was patently obvious!
We discussed Barbara Kruger 'Your gaze hits the side of my face' and 'I am your reservoir of images'. Her use of words uses the pronoun, the noun and often a copulative verb to put a gendered interpretation on a short sentence. When used as an instrument of power, language becomes less than innocent! How do I want to use language on my sampler?
We discussed my agenda for my artwork. A-gender ? Possibly a title for one of my sketchbook pages. Linden particularly liked the page 'Labelled'. I like 'The Gaze'. Linden felt my work was definitely political - by its use of the outline of a real woman - not photoshopped or airbrushed. She agreed that I should ignore my sense that Danielle was uncomfortable with my naked images, and carry on working with them. Linden suggested I add Jenny Savage and Margaret Dumas to my artist research. Linden said my concertina sketchbook was exploring righting wrongs (which the most recent work is doing) and reflected on how the body position in the silhouettes indicated this. I use a lot of words in my artwork so structure and reasoned argument are important to me. The body posture of the silhouettes can be used to partly make this argument. We discussed order and structure of argument (which Linden thinks I do well) and my feeling that what I do, is more like a herbaceous border - all free-form and flopping about everywhere.
I was advised to consider how to make the physicality of textiles intrinsic to my work. Don't have the answer to this one yet.
Linden thinks working with values is tricky. The human interacting with the world is the basis of value. Consider how we understand differences - big/small, wet/dry, fast/slow, famine/feast, open/closed, honesty/lies. Lakoff & Johnson in Metaphors We Live By (chapter 13) consider conceptual value in the experience of the world. Simple things can be difficult to find. (Like how I summed up Laura Mulvey's article). Everything in my sampler will be metaphorical (Lakoff & Johnson terminology) or symbolic (my term).
Linden recommended The meaning of the body in Coyne, Metaphors in the Design Studio - ' you are only in control of all of it, when you can explain the rationale for all of it.'
I said that feedback in my Personal Values table indicated people associated me with an Oak Tree and Wood. Linden's interpretation of this was around growth and strength.
I showed her my sketchbook developments from the Expressive Printmaking class. She read quite a lot into the different shoulder positions of my mono print self portraits. We discussed the impact of the blue colour of the cyanotype, particularly on the plywood piece, and concluded the blue/pornography interpretation was not one that I wanted to follow up. I said I saw the imagery transferring to the sampler format with a line drawing of my naked form, quite small, possibly pushing the honesty border around the hemmed edge of the work. I am not sure how many self portrait forms there will be on the sampler. There will be words on it, but not as speech bubbles (Linden's query). Also, Linden's view was that as it is a self portrait, the human forms(s) should be singletons, but I am not sure whether I want to put people 'shoulder to shoulder' as this is how I see myself when supporting or defending their position. I need to get cracking with this sampler - my tennis elbow has improved to the extent I think I can manage an hour a day.
We discussed my reading of Laura Mulvey, Visual Pleasure and Narrative Cinema, 1975, Screen 16.3 Autumn 1975 pp6-18 http://www.jahsonic.com/VPNC.html I summed it up as describing how cinema (mostly created by a male director) trained women to view other women through the male gaze. Linden said the ability to sum up a whole article in one sentence and then apply it to everyday life, was a theoretical innovation. Oh good! I just thought it was patently obvious!
We discussed Barbara Kruger 'Your gaze hits the side of my face' and 'I am your reservoir of images'. Her use of words uses the pronoun, the noun and often a copulative verb to put a gendered interpretation on a short sentence. When used as an instrument of power, language becomes less than innocent! How do I want to use language on my sampler?
We discussed my agenda for my artwork. A-gender ? Possibly a title for one of my sketchbook pages. Linden particularly liked the page 'Labelled'. I like 'The Gaze'. Linden felt my work was definitely political - by its use of the outline of a real woman - not photoshopped or airbrushed. She agreed that I should ignore my sense that Danielle was uncomfortable with my naked images, and carry on working with them. Linden suggested I add Jenny Savage and Margaret Dumas to my artist research. Linden said my concertina sketchbook was exploring righting wrongs (which the most recent work is doing) and reflected on how the body position in the silhouettes indicated this. I use a lot of words in my artwork so structure and reasoned argument are important to me. The body posture of the silhouettes can be used to partly make this argument. We discussed order and structure of argument (which Linden thinks I do well) and my feeling that what I do, is more like a herbaceous border - all free-form and flopping about everywhere.
Linden thinks working with values is tricky. The human interacting with the world is the basis of value. Consider how we understand differences - big/small, wet/dry, fast/slow, famine/feast, open/closed, honesty/lies. Lakoff & Johnson in Metaphors We Live By (chapter 13) consider conceptual value in the experience of the world. Simple things can be difficult to find. (Like how I summed up Laura Mulvey's article). Everything in my sampler will be metaphorical (Lakoff & Johnson terminology) or symbolic (my term).
Linden recommended The meaning of the body in Coyne, Metaphors in the Design Studio - ' you are only in control of all of it, when you can explain the rationale for all of it.'
I said that feedback in my Personal Values table indicated people associated me with an Oak Tree and Wood. Linden's interpretation of this was around growth and strength.
Monday 31 October 2016
Personal Values Table
I had some helpful friends give me some feedback on how they saw my values. I should try to get a few more male points of view, as I only have one. Now I need to work up the Values sketchbook. I think I shall use some of the phrases to caption what I draw.
|
Contributor
|
Value
|
Positive Behaviour
|
Negative Behaviour
|
Object
|
|
Female
|
What you see
is what you get
|
You never
pretend
|
Sometimes you
may appear abrupt/ brusque if one does not know you.
|
Your
soup.
- You can mostly see all the ingredients, but not always.
- It is always hearty and simple, yet always very rich in both look
and flavor
- It takes energy and effort to make and yet you always make some
- It is a ‘straight to the point’ meal, both as a type of food and
in the utilitarian way you carry it and consume it.
|
|
Male
|
You are
genuine
|
You would not
say one thing and do another.
|
You might not
pull your punches in a delicate situation.
|
Tomato soup –
you … home-made of course!
Oak tree –
value.
|
|
Female
|
Principled
|
Help others
|
Feeling
responsible for others
|
Open hand
|
|
Female
|
Honesty,
integrity, discipline, hard working, principled
|
Generosity,
forthright
|
Dogmatic
|
A gloriously
proletariat thermos flask!
|
|
Female
|
Courage – to
do what you think is right
Outspoken to
stand up for yourself and others.
Less brave
people are desperate for people to speak out on their behalf as they don’t
have the courage to do so and are not able to take the risk to jeopardise
their position.
|
Achievements
for yourself and others.
|
Outspoken –
can be seen as threatening.
Vocal – the
veneer that means we verbalise to cover all that goes on inside (defense
mechanism).
|
Red hair. Traits traditionally associated with red
hair – you will laugh at some of them.
|
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