JENNIFER RICHARDS
MACA ART PRAXIS 1 LEARNING AGREEMENT
FINAL DRAFT 19 TH JUNE 2011
Task
I have always been intrigued with history, and recent explorations and research into my own family tree have provided the catalyst for my interest in creating a discourse with my ancestors and my role within the family. I wish to create a dialogue between myself and the exploration of past generations. This will be expressed through an artist’s book and a garment.
Objective
For Art Praxis 1 I wish to create a series of encounters with my own personal archive. I am interested in the way in which documents such as photographs and written texts are kept over the generations and how these can be interpreted and re-interpreted in new ways within my own lifetime through my practice. I will collect and collate information from memoirs, letters, photographs, writings, interviews and objects as research to create different modes of documentation. I wish to express my outcomes through a variety of materials and processes in order to engage with and explore the themes in more detail. There are four generations of seamstresses in my family, and I am particularly interested in textiles, mixed media and stitch.
Contextual Framework
John Berger (1978 p.8) states that “The way we see things is effected by what we know or what we perceive”. I am interested in the authenticity of images and how narratives can be easily constructed around what we see. The truth of the image is not necessarily what we view. This in itself can be a construct set up for the viewer by the photographer or subject to provoke a particular response.
I am also interested in exploring the use of the photograph in Fine Art practices. Gerhardt Richter and Christian Boltanski both use photographs as a starting point for their work. Boltanski uses found photographs and creates new narratives around the images to re-contextualise the photographs that we view. Clarke (1997 p.205) claims that by this creation of a collective identity Boltanski establishes a “critical space between the reader and his images”. In relation to the Monument: The Children of Dijon, he adds that Boltanski’s work acts with a kind of duality. He is both trying to raise the status of the photograph but also using it in a more celebratory capacity. He asks the viewer to question their own view of the photograph and its significance in how they “accrue status and meaning”. This is an idea that I wish to explore through my documentation and research into how the photograph can be re-interpreted through different processes and technologies.
Hal Foster (2004 p145) “...the nature of all archival materials are found yet constructed, factual yet fictive, public yet private”.
Foster’s An Archival Impulse argues that there is a growing interest in artists using the idea of the archive within their work. Charles Merewether’s The Archive also discusses the growth of this within contemporary art practices, and supports this idea in reference to the accessibility to the archive through digital means. I wish to explore this idea through my research into artists such as Susan Hiller who use material in an archival format. For example, From the Freud Museum (1991) is of particular relevance to my work in terms of the use of documentation and inclusion of different mediums, from photographs to writings and ephemera.
Deliverables/Assessed Outcomes
Exhibition of Documentation (Garment)
Artist’s Book
Assessment Weighting
Artwork 75%
Written Reflection/Analysis 25%
Specific Assessment Criteria
Activities/Processes
Research – Primary and Secondary sources, collecting and collating information September-October 2010
Collecting Materials – October/November 2010
First Experiments with media and materials – December/January 2010/2011
Documentation of Process – January – March 2011
Further Secondary research – Critical Essay and exploration of writings – February, March, and April 2011
Review and Editing of Documentation – April – May 2011
Development of Final Outcomes – May – June 2011
Personnel, Resources and Requirements
Open Space
Plinth for Artist’s Book
Bibliography
Berger J (1978) Ways of Seeing London Penguin
Clarke G (1997) The Photograph Oxford: Oxford University Press
Foster H (2004) An Archival Impulse Massachusetts: The MIT Press
Merewether C (Ed) (2006) The Archive: Documents of Contemporary Art Massachusetts
Sunday 19 June 2011
Friday 10 June 2011
Thursday 9 June 2011
Wednesday 8 June 2011
Monday 6 June 2011
Tuesday 31 May 2011
Monday 30 May 2011
Sunday 29 May 2011
Artist Statement
Artist Statement
I have always been intrigued with history, and recent explorations and research into my own family tree have provided the catalyst for my interest in creating a discourse with my ancestors and my role within the family. I wish to create a dialogue between myself and the exploration of past generations.
For Art Praxis 1 I have created a series of encounters with my own personal archive. I am interested in the way in which documents such as photographs and written texts are kept over the generations and how these can be interpreted and re-interpreted in new ways within my own lifetime through my practice. I have collected and collated memoirs, letters, photographs, writings, interviews and objects as research to create different modes of documentation.
I am also interested in the authenticity of images and how narratives can be easily constructed around what we see. The truth of the image is not necessarily what we view. This in itself can be a construct set up for the viewer by the photographer or subject to provoke a particular response.
I use a variety of materials and processes through my work in order to engage with and explore the themes in more detail. I am particularly interested in textiles and needlework as this is an intrinsic part of my practice. This stems from the fact that there are four generations of seamstresses in my family and currently manifests itself as both physical objects such as samplers and garments as well as contextual and historical references to the role of the seamstress throughout history. My work therefore is a document which is simultaneously the inquiry and the process.
I have always been intrigued with history, and recent explorations and research into my own family tree have provided the catalyst for my interest in creating a discourse with my ancestors and my role within the family. I wish to create a dialogue between myself and the exploration of past generations.
For Art Praxis 1 I have created a series of encounters with my own personal archive. I am interested in the way in which documents such as photographs and written texts are kept over the generations and how these can be interpreted and re-interpreted in new ways within my own lifetime through my practice. I have collected and collated memoirs, letters, photographs, writings, interviews and objects as research to create different modes of documentation.
I am also interested in the authenticity of images and how narratives can be easily constructed around what we see. The truth of the image is not necessarily what we view. This in itself can be a construct set up for the viewer by the photographer or subject to provoke a particular response.
I use a variety of materials and processes through my work in order to engage with and explore the themes in more detail. I am particularly interested in textiles and needlework as this is an intrinsic part of my practice. This stems from the fact that there are four generations of seamstresses in my family and currently manifests itself as both physical objects such as samplers and garments as well as contextual and historical references to the role of the seamstress throughout history. My work therefore is a document which is simultaneously the inquiry and the process.
Wednesday 25 May 2011
Final Draft Learning Agreement
JENNIFER RICHARDS
MACA ART PRAXIS 1 LEARNING AGREEMENT
FINAL DRAFT 25TH MAY 2011
Task
I have always been intrigued with history, and recent explorations and research into my own family tree have provided the catalyst for my interest in creating a discourse with my ancestors and my role within the family. I wish to create a dialogue between myself and the exploration of past generations. This will be expressed through an artist’s book and a garment.
Objective
For Art Praxis 1 I wish to create a series of encounters with my own personal archive. I am interested in the way in which documents such as photographs and written texts are kept over the generations and how these can be interpreted and re-interpreted in new ways within my own lifetime through my practice. I will collect and collate information from memoirs, letters, photographs, writings, interviews and objects as research to create different modes of documentation. I wish to express my outcomes through a variety of materials and processes in order to engage with and explore the themes in more detail. There are four generations of seamstresses in my family, and I am particularly interested in textiles, mixed media and stitch.
Contextual Framework
I am interested in the authenticity of images and how narratives can be easily constructed around what we see. The truth of the image is not necessarily what we view. This in itself can be a construct set up for the viewer by the photographer or subject to provoke a particular response.
I am also interested in exploring the use of the photograph in Fine Art practices. I am particularly interested in exploring artist such as Gerhardt Richter as he uses his own personal family photographs as a starting point for many of his paintings. I am especially interested in exploring his work depicting family members. Christian Boltanski also uses photographs in his work, but he uses found photographs and creates new narratives around the images to re-contextualise the photographs that we view.
I also wish to explore artists such as Susan Hiller who use material in an archival format, for example, From the Freud Museum (1991) is of particular relevance to my work in terms of the use of documentation and inclusion of different mediums, from photographs to writings and ephemera.
I also wish to explore the historical depictions of the seamstress or dressmaker through history. I feel that this contextual knowledge will help to inform my work in terms of the documentation process and the construction of the objects for exhibition. I also would like to examine literary references such as Elizabeth Gaskell’s Mary Barton to see if the depictions of the role of a seamstress are accurate and what can be gained from examining these texts in relation to the historical accounts.
Deliverables/Assessed Outcomes
Exhibition of Documentation (Garment)
Artist’s Book
Assessment Weighting
Artwork 75%
Written Reflection/Analysis 25%
Specific Assessment Criteria
Activities/Processes
Research – Primary and Secondary sources, collecting and collating information September-October 2010
Interviews – October/November 2010
First Experiments with media and materials – December/January 2010/2011
Documentation of Process – January – March 2011
Further Secondary research - Exploration of Academic and historical writings – February, March, April 2011
Review and Editing of Documentation – April – May 2011
Development of Final Outcomes – May – June 2011
Personnel, Resources and Requirements
Open Space
Plinth for Artist’s Book
Bibliography
Armstrong C & Zegher C (Ed) 2006 Women Artists at the Millennium MIT Press
Barthes R (1993) Camera Lucida: Reflections on Photography London: Vi ntage
Burman B (1999) The Culture of Sewing: Gender, Consumption and Home Dressmaking New York Berg Publishing
Calle S 1999 Double Game Violette Limited
Clarke G (1997) The Photograph Oxford: Oxford University Press
Gaskell E (1991) Mary Barton Oxford Oxford University Press
Lingwood J (Ed) (2004) Susan Hiller: Recall Selected Works 1969-2004 Gateshead: Baltic
Logan D (1998) Fallenness in Victorian Women’s Writing: Marry Stitch Die or Do Worse University of Missouri Press
Meskimmon M (2003) Women Making Art: History, Subjectivity and Aesthetics Routledge
Moorhouse P (2009) Gerhard Richter Portraits: Painting Appearances New Haven and London:
Yale University Press
Semin D Garb T Kuspit D (Ed) (1997) Christian Boltanski London: Phaidon
Bradley F & Brett G (1997) Susan Hiller Exhibition Catalogue Tate Liverpool London: Tate Gallery
Publishing
Gerhard Richter (2009) Portraits London: National Portrait Gallery Publications
Sean Rainbird (1992) Gerhardt Richter Exhibition Catalogue London: Tate Gallery Publications
Watson J (Ed) 2005 Interfaces – Women, Autobiography, Image, Peformance University of Michigan
MACA ART PRAXIS 1 LEARNING AGREEMENT
FINAL DRAFT 25TH MAY 2011
Task
I have always been intrigued with history, and recent explorations and research into my own family tree have provided the catalyst for my interest in creating a discourse with my ancestors and my role within the family. I wish to create a dialogue between myself and the exploration of past generations. This will be expressed through an artist’s book and a garment.
Objective
For Art Praxis 1 I wish to create a series of encounters with my own personal archive. I am interested in the way in which documents such as photographs and written texts are kept over the generations and how these can be interpreted and re-interpreted in new ways within my own lifetime through my practice. I will collect and collate information from memoirs, letters, photographs, writings, interviews and objects as research to create different modes of documentation. I wish to express my outcomes through a variety of materials and processes in order to engage with and explore the themes in more detail. There are four generations of seamstresses in my family, and I am particularly interested in textiles, mixed media and stitch.
Contextual Framework
I am interested in the authenticity of images and how narratives can be easily constructed around what we see. The truth of the image is not necessarily what we view. This in itself can be a construct set up for the viewer by the photographer or subject to provoke a particular response.
I am also interested in exploring the use of the photograph in Fine Art practices. I am particularly interested in exploring artist such as Gerhardt Richter as he uses his own personal family photographs as a starting point for many of his paintings. I am especially interested in exploring his work depicting family members. Christian Boltanski also uses photographs in his work, but he uses found photographs and creates new narratives around the images to re-contextualise the photographs that we view.
I also wish to explore artists such as Susan Hiller who use material in an archival format, for example, From the Freud Museum (1991) is of particular relevance to my work in terms of the use of documentation and inclusion of different mediums, from photographs to writings and ephemera.
I also wish to explore the historical depictions of the seamstress or dressmaker through history. I feel that this contextual knowledge will help to inform my work in terms of the documentation process and the construction of the objects for exhibition. I also would like to examine literary references such as Elizabeth Gaskell’s Mary Barton to see if the depictions of the role of a seamstress are accurate and what can be gained from examining these texts in relation to the historical accounts.
Deliverables/Assessed Outcomes
Exhibition of Documentation (Garment)
Artist’s Book
Assessment Weighting
Artwork 75%
Written Reflection/Analysis 25%
Specific Assessment Criteria
Activities/Processes
Research – Primary and Secondary sources, collecting and collating information September-October 2010
Interviews – October/November 2010
First Experiments with media and materials – December/January 2010/2011
Documentation of Process – January – March 2011
Further Secondary research - Exploration of Academic and historical writings – February, March, April 2011
Review and Editing of Documentation – April – May 2011
Development of Final Outcomes – May – June 2011
Personnel, Resources and Requirements
Open Space
Plinth for Artist’s Book
Bibliography
Armstrong C & Zegher C (Ed) 2006 Women Artists at the Millennium MIT Press
Barthes R (1993) Camera Lucida: Reflections on Photography London: Vi ntage
Burman B (1999) The Culture of Sewing: Gender, Consumption and Home Dressmaking New York Berg Publishing
Calle S 1999 Double Game Violette Limited
Clarke G (1997) The Photograph Oxford: Oxford University Press
Gaskell E (1991) Mary Barton Oxford Oxford University Press
Lingwood J (Ed) (2004) Susan Hiller: Recall Selected Works 1969-2004 Gateshead: Baltic
Logan D (1998) Fallenness in Victorian Women’s Writing: Marry Stitch Die or Do Worse University of Missouri Press
Meskimmon M (2003) Women Making Art: History, Subjectivity and Aesthetics Routledge
Moorhouse P (2009) Gerhard Richter Portraits: Painting Appearances New Haven and London:
Yale University Press
Semin D Garb T Kuspit D (Ed) (1997) Christian Boltanski London: Phaidon
Bradley F & Brett G (1997) Susan Hiller Exhibition Catalogue Tate Liverpool London: Tate Gallery
Publishing
Gerhard Richter (2009) Portraits London: National Portrait Gallery Publications
Sean Rainbird (1992) Gerhardt Richter Exhibition Catalogue London: Tate Gallery Publications
Watson J (Ed) 2005 Interfaces – Women, Autobiography, Image, Peformance University of Michigan
Wednesday 18 May 2011
Sunday 15 May 2011
Friday 13 May 2011
Friday 6 May 2011
Slaves of the Needle
Ralph Barnes Grindrod's "Slaves of the Needle": An electronic scholarly edition
by Leitch, Caroline Margaret, M.A., UNIVERSITY OF WATERLOO , 2006
Abstract (Summary)
This thesis involves both editorial practice and literary analysis. In order to establish an editorial framework for the electronic scholarly edition of Dr. Ralph Barnes Grindrod's pamphlet Slaves of the Needle, I examine current issues in electronic textual editing. In the electronic scholarly edition, approximately twelve of the pamphlet's thirty-five pages are transcribed and encoded using TEI-based code. The second aspect of my master's thesis concerns the depiction of seamstresses in nineteenth-century British literature. Slaves of the Needle provides a non-fiction counterpart to the fictional seamstresses of mid-nineteenth-century literature. Using Slaves of the Needle as a basis for evaluating the accuracy of mid-nineteenth-century characterizations of seamstresses, I show that authors such as Charles Dickens, Elizabeth Gaskell, Ernest Jones, and Charlotte Elizabeth Tonna were familiar with the working conditions of seamstresses. By conducting a close reading of certain representations of the seamstress in both fiction and nonfiction, I develop a theory of why the depiction of some aspects of the seamstress story are more accurate than others.
by Leitch, Caroline Margaret, M.A., UNIVERSITY OF WATERLOO , 2006
Abstract (Summary)
This thesis involves both editorial practice and literary analysis. In order to establish an editorial framework for the electronic scholarly edition of Dr. Ralph Barnes Grindrod's pamphlet Slaves of the Needle, I examine current issues in electronic textual editing. In the electronic scholarly edition, approximately twelve of the pamphlet's thirty-five pages are transcribed and encoded using TEI-based code. The second aspect of my master's thesis concerns the depiction of seamstresses in nineteenth-century British literature. Slaves of the Needle provides a non-fiction counterpart to the fictional seamstresses of mid-nineteenth-century literature. Using Slaves of the Needle as a basis for evaluating the accuracy of mid-nineteenth-century characterizations of seamstresses, I show that authors such as Charles Dickens, Elizabeth Gaskell, Ernest Jones, and Charlotte Elizabeth Tonna were familiar with the working conditions of seamstresses. By conducting a close reading of certain representations of the seamstress in both fiction and nonfiction, I develop a theory of why the depiction of some aspects of the seamstress story are more accurate than others.
Tuesday 3 May 2011
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