Today we had Rachael Minott, an Art student Alumni come in to give us a talk about her experiences whilst at university as well as her after she graduated.
I found her talk extremely inspiring as a lot of her processes into her 3rd year were quite similar to what I’ve experienced. Rachael had also been on a study abroad and found herself a bit lost when getting back into the swing of the studio module in Reading.
I had earlier considered doing a project relating to my Senegalese cultural background as it is something I’ve always wanted to do work into but haven’t really looked into whilst at university, and Rachael’s practice at university was linked her Jamaican heritage so it gave me quite a lot of insight into the type of project I wanted to start doing.
Rachael spoke a lot about how research influences her practice which interested me but was something I was quite sure how to balance in terms of your practice. After speaking to her after the talk she gave me some useful tips on how to approach research with your work. Particularly that I use structured questions, and ask myself why I want to do the work I am doing.
Holly Pester is a poet and multidisciplinary writer working through archives and written histories, with gossip, radical tales and dream logic. Pester has featured in readings, performances and sound installations at Segue, New York, dOCUMENTA 13, the Serpentine Poetry Marathon. Her book, go to reception and ask for Sara in red felt tip is a collection of archive fan-fiction (Book Works 2015) and her album, Common Rest (Test Centre 2016) is a collection of collaborative lullabies and sound poems. She is lecturer in Poetry and Performance at University of Essex.
Here are notes I took from her talk:
- Relation with research practice and poetry
- Objects of focus – methods
- Unfixed order between idea and material and where the author fits into that
- Influence – Hannah Weiner, schizophrenic, hallucinating text: claimed condition as her clairvoyance, transcribed hallucination The Fast – locked in her apartment, starving herself, hallucinating constantly, moves into sink Clairvoyance Journal
- Archive engagement
- Hypnagogic hallucination – space between sleep and consciousness
- Hallucination as a method -> Gossip as a method
- Piece in a telephone box outside the RA. On the telephone, you’re giving power to others into your space – friend is closest version of the other to you. e gendered history of gossip
- Energetic gossip – gossip as a material that protects information
- Book project at goldsmith’s
- Common Rest – vinyl record with book of poems inside – lullaby as a method and a material as a way to think about care and friendship – 7 artists compared a lullaby together, outside idea of the cradle song. Lullaby as a gift to another. Experimental sound pieces
“Matthew Collings is an art critic and artist. “He has a regular monthly column in the art magazine ArtReview (“Great Critics and Their Ideas”), in which he ‘interviews’ historical figures whose influence on art has been decisive’ […]
He began his career working at Artscribe beginning in the production department in 1979 and later took over as editor, filling that role from 1983-7, bringing international relevance to the magazine. Collings later moved into television working as a producer and presenter on the BBC The Late Show from 1989-95 […]
After leaving the BBC, Collings wrote ‘Blimey! From Bohemia to Britpop: The London Artworld from Francis Bacon to Damien Hirst,’ which humorously chronicled the rise of the Young British Art (YBA) movement. Published in 1997 by 21, a new company founded by David Bowie, among a group of others, ‘Blimey!’was described by Artforum magazine as “…one of the best-selling contemporary-art books ever.” (Kate Bush on the YBA Sensation, Artforum, 2004). The article went on to say that Collings “invented the perfect voice to complement YBA: He makes an impact without (crucially) ever appearing to try too hard. “
[Quoted from https://en.wikipedia.org/wiki/Matthew_Collings]
He collaborates with the artist Emma Biggs to produce paintings.
“Biggs and Collings are interested in something they have noticed by looking at art from the past. Art, as it used to be understood, has come to an end. But what strikes them is that old ideas and habits of mind are hard to shake off. Former ways of thinking constantly influence behaviour today. You could say that an example of this phenomenon is the way the aestheticisation of the art object has been replaced by the aestheticisation of the art experience. The thorny issue of how the past is present in what we, as a society, see and do, and the way in which it may differ from what we believe we say and do, is at the heart of Biggs’ and Collings’ work”.
Quoted from: http://emmabiggsandmatthewcollings.net/statement/“
”Sidsel Meineche Hansen is an artist based in London whose research-led practice manifests as exhibitions, interdisciplinary seminars and publications. Her work takes the form of woodcut prints, sculptures, CGI and VR animations that typically foreground the body’s industrial complex in the pharmaceutical, porn and tech-industries. The artist talk will focus on the female avatar ‘EVA v3.0’, a royalty-free product sold online by TurboSquid, a company that supplies stock 3D models for computer games and adult entertainment. The EVA v3.0 avatar is the main protagonist in Sidsel Meineche Hansen’s recent work (The CGI and VR animations: Seroquel®, 2014; No right way 2 cum, 2015 and DICKGIRL 3D(X), 2016) – and an object in her research on post-human sex”
Quoted from Blackboard Artist Talks Announcement
”Megan Nolan was born in 1990 in Waterford, Ireland and is currently based in London. Her writing includes essays, fiction and reviews which have been published widely including in E.R.O.S. Journal and The Guardian. Readings and performances commissioned across the U.K. and Ireland have included the Irish Museum of Modern Art, Goldsmiths Lit Live, Kunstraum Gallery, Cubitt Gallery, Wysing Arts Centre and the South London Gallery. Internationally, her work has also appeared at Hyper Local Festival in Buenos Aires and the Sandberg Institute’s “Wandering School” in Milan.
She is currently working on her first book of creative non-fiction concerned with the subjection of female identity in romantic relationships and body dysphoria.”
‘Andrew Cooper uses sculpture, drawing, film and performance. His work revolves around a swelling cast of semi-autobiographical characters and myths that he used to explore and deconstruct social and political events and movements . In 2007 he initiated the Portman Gallery project, a contemporary art gallery which exists within a state secondary school in Bethnal Green. Cooper lives and works in London.’
Quoted from Blackboard Artist Talks Announcement
”Janette Parris is a contemporary artist who uses the everyday as the basis for much of her work. She works across different media including: drawing, animation, and performance (musical and theatre). She creates strongly narrative work, often in the form of comic strips to capture the humorous essence of life, while reflecting a dry and self-effacing look at the world.
Janette Parris work has been exhibited across the UK and internationally, and in 2003, she was commissioned to produce a series of works for the ‘Art on the Underground’ programme by London Underground. In 2010, Parris’s animated video Talent was shown at Tate Britain’s Rude Britannia exhibition. In 2014 Parris was a Connect10 artist for Museums At Night 2014. In 2014 her online comic Arch was exhibited in Comics Unmasked the largest comic exhibition in the UK at the British Library.”
Quoted from http://www.peckhamplatform.com/artists/janette-parris
”Katrina Palmer’s art is sculpture, though not as we usually encounter it. Her stories unfold physical, psychological and sexual encounters with materiality, so that things and thoughts collide, ideas become as sensual as external reality, and banal, vulgar or obscene objects are formed in writing, as imagined sculpture.
The objects from which Palmer’s stories begin – pages, books, desks and chairs – recall the scenario of writing, and the object repertoire of conceptual art, a witty reminder of dematerialisation’s overlooked materialisations. But art-historical allusions merely provide the setting for the real action. The subordinate or enfolded spaces of these objects, the cavities under or within them, become the refuge for vivid fantasies.”
(Elizabeth Price, 2013)