Summer School day 4, Thursday 31 July 2014

10.30: Meshwork / Messwork
The most salient material is moved from the mobile blackboard to the fixed blackboard.

10.45: Not Extra but Vital
The group is shown two short films, preceding an open discussion with filmmaker Tony Grisoni. We consider the impact on our choices about Noticer/s; Does the object become refined? Is the object allowed to remain unwieldy?

In How to De-clutter your Home we watch an American self-help video on you tube in order to raise the notion of hoarding as negative and de-cluttering as a positive state.

Essay on David O. Selznick, Neorealism and Life is a video essay by comparing the contrasting Italian/Hollywood editing techniques used in versions of the same film named Terminal Station/Indiscretion of an American Wife respectively, giving rise to the notion that extra information can be valuable. We use these films to through focus on the decisions we might make around the editing of the material we are gathering. A conversation with Tony Grisoni helps us to articulate this thought process, drawing our attention to his acceptance of feeling “meagre, false, ridiculous and useless” in the pursuit of creativity.

11.15: P-A-U-S-E
The mobile blackboard is used during and after the screenings and discussion to record Noticings.

11.40 Edit by memory
Participants are asked to visit the collection with only a camera to record.

Individuals look for an example of edit in the works in the collection. Individual works are chosen and photographed. Back in the studio the individual works are drawn from memory in order to evidence an innate process of editing.

2.00: Edit?
Groups return to the making of Noticer/s

With the notion of edit in mind participants debate the necessity of editing.

3.30: Distraction
The artist Clare Makhlouf Carter is introduced to the group and her presence reveals that she has been causing subtle distractions in and around the studio.

Makhlouf Carter discloses the object, text and behavioural disturbances she has authored throughout the session in response to the specific request to ‘Cause a Distraction’. She talks about her practice as a whole, with reference to the historical and contemporary art context. See Appendix 3

4.15: Edit by distraction
We recall the individual works chosen from the collection earlier.

Collage is used to insert a distraction in to the photographic depiction of the work

4.30: S-T-O-P
The most salient material is moved from the mobile blackboard to the fixed blackboard.

Leave a Reply

Your email address will not be published. Required fields are marked *