moving on

degree show 3rd May 2012. The day after, this blog regenerates, Dr. Who style...

Half term - time to rest up and take stock - yeah right!

There are downsides to studying for a degree in Fine Art at a Further & Higher Education college - let's be honest. One of the advantages over a full-blown University, however, is that we get a half-term break. A pause mid-semester, time to take a breath, rest up and take stock.

The reality though is quite different. Normal routine is interrupted, kids are home from school demanding attention. Every available surface still has piles of books with sticky notes marking pages you have forgotton why you marked and I swear that large bulging file with DISSERTATION written in black capital letters is following me around the house.

As the peace and quiet evaporates, the only escape is the studio which fortunately has remained open during the holiday! Just as well 'cos that body of work is not going to make itself.

Degree Show to organise - I'm in the promotion and marketing team - a dissertation presentation to prepare as well as another presentation....

nowhere island

http://nowhereisland.org/

another great Artists Taking the Lead project that I have just heard about. For the London 2012 Cultural Olympiad Arts Council England funded project this time for the West of England.

National Portrait Gallery - Private Tour Road to 2012

I was delighted to meet the curator Anne Braybon, Commissions Manager for the Road to 2012 project at the National Portrait Gallery. Anne delighted myself and fellow BT Storytellers as she gave us a private tour of the photography exhibition.

Emma Hardy, whom I met at the weekend and Finlay Mackay's work is  hung separately but against the the strong colours of the gallery walls, the vibrancy of which was matched only by Anne's sartorial splendour. Contrasting in both style and technique, Hardy uses available 'ambient' light to capture the serene, relaxed and static poses of the men and women a who have shaped the London 2012 games, whereas Mackay's often artificially lit subjects are dynamic and captured 'in action'. Often larger format photographs, Mackay takes several shots at the location and later seamlessly combines the images into one large photograph. Hardy uses film and no manipulation of the image post processing.

I preferred the more subtle, quiet approach of the latter - more atmospheric but it was great to see the images in contrast with each other. A most enjoyable evening.

G.O.D. 10/09/11

The Great Out Doors - a DIY art event. Great fun if a little wet!

more pics here

http://www.facebook.com/media/set/set=a.1949918067095.2096591.1216897336&l=e335362b59&type=1


My effort M'ART DOOR a great map for the great outdoors. I discovered afterwards that the door actually came from Devon!! Too strange...

TextileTales - Jess Plant

I happened upon this project and the artist on The Greenway at the Olympic Park, Stratford.

as the MA Art & Design student from Brighton, Jess Plant would sew a button onto a fabric printed map of the London Borough of Newham representing where the person lived. Jess explained that this was to get people's attention. The main project is here

http://textiletalearchive.tumblr.com/rosettaartscentre

A community art project collecting textiles that tell the tale of Newham. Brilliant.

Emma Hardy Road to 2012 Photography Workshop

In my role as BT Storyteller I was invited to attend Emma Hardy's Road to 2012 Photography Workshop at The View Tube, The Greenway in the London 2012 Olympic Park, Stratford E15.

Road to 2012 is a National Portrait Gallery project capturing the journey towards the Games and Emma Hardy was commissioned to photograph portraits of the men and women who have shaped London 2012 from Seb Coe to Sue Barker and the Assistant Commissioner of the Metropolitan Police.

Emma Hardy at the Olympic Park, Stratford

http://www.emmahardy.com/


Sent out into the park to put into practice the tips and advice she gave here are some pics I took and a photo opportunity with Emma.

http://www.flickr.com/photos/49784922@N05/sets/72157627537838395/

I learnt; always use the available light (no flash), the morning or evening light is most effective but not when the sun is at its highest, don't be in a hurry to take the shot, trust with your 'sitter' is everything, photograph where the sitter is most comfortable in familiar surroundings, composition is key, be honest with you sitter about how you will use the photo and what you want to portray.

I am looking forward to a private tour with the NPG Road to 2012 curator on Thursday to see the portraits from Emma and the other commissioned photographers in the gallery.

Interesting things that have happened to me this week...

sourced a door, loaded the door, unloaded the door cut the door into five pieces used a circular saw cleared up the mess met Ben he told me about his Thames Estuary project, told him about the dig and sow project  had a meeting in a graveyard under a dead tree that looked like the strong winds would bring it down any moment met an elderly gentleman named Arthur who spent the best part of twenty minutes telling me his medical history and life story then took my name and said he would pray for me. I thanked him. The Rector made jokes about digging holes in the graveyard and I went on my way. Met James "Cunning" Murrell the "white witch" of Hadleigh I was adopted by the Hadleigh & Thundersley Community Archive awarded a pin badge lined up for an Echo photo opportunity grinning and holding a laptop loaded and unloaded door which by now is getting heavier by the journey went to the Olympic Park met a  guy called Andy whom I had never met before but through the power of the internet we greeted each other like old acquaintances met Sarah, Sean - a clown who works for BT - no he really is a clown and he works for BT. I didn't say anything. Met Mat (who also works for BT and may or may not be a clown), Rizwan, Jean-Jacques and Nina fellow tellers of tales of the BT kind chatted to and had my photograph taken with Emma Hardy National Portrait Gallery Road to 2012 commissioned photographer drawn to this other young ladyTextile Tales, Jess Plant literally on the road to 2012, well the The Greenway through the Olympic Park carried the door to the beach drank beer got soaked in the pouring rain watched a rainbow followed by a beautiful sunset looking for Jess Plant's website I accidentally stumbled upon the Newham Story website realising the Olympic Park is built where my family roots run deep and now I'm hooked like I don't have enough to do already...

Socially Engaged Practice

What is socially engaged practice? Littoral art. A whole section in the dissertation on this one.
I have come across this artist collaboration pairing which may go some way towards explaining

Cornford and Cross  http://www.cornfordandcross.com/

and this forum

Variant http://www.variant.org.uk/events/event1.html

as well as

Littoral art described by Wikipedia:
Littoral art is a term used by Canadian artist and writer Bruce Barber to describe art occurring outside of the institutions of the artworld.^[1] It is a manifestation of Nicolas Bourriaud'srelational aesthetics and is public and community-based, emphasizing the interaction between artists and spectators.^[1] The idea derives from Habermas's concept of communicative action.

and brings me full circle to a conversation I had recently at an artist's forum meeting about APG Artists Placement Group - set to feature in my dissertation too

http://www.tate.org.uk/learning/artistsinfocus/apg/

Today I am reading...

What is art?

The big question - Creature Comforts answer -

http://youtu.be/pDo_vs3Aip4

Made in England

http://www.artscouncil.org.uk/our-work/made-england/

I only came across this today and am recording it here if I need to refer to it at any point for my dissertation/final major project.

It all happened in 2009 and everything since seems to have the word 'olympic' in it. Anyway, it's an interesting project and post olympic fever and funding contractions ACE may have similar initiatives in the future. Let's hope so.

Who stole my summer holiday?

Ok. Where did that summer break go? It seems we only just broke for the holidays and our end of year show was up! Suddenly, I am filling in my registration for the third and final year of my degree.

Yes, I have been busy. But in a good way. I have learnt so much, met so many great people and feel like I will return to Year Three equipped with some invaluable experience, a greater understanding of what I'm aiming at and hopefully some great ideas to put into practice.

Then there's the dissertation of course. What happened to my best intentions of preparing the first draft by the time we returned in September? There is still time to get something down, I guess.

Better get cracking then.

Exhibition of Visual Art - Southend Central Library to 24th August

An eclectic mix of art from six local artists (that's Five-plus-one-more) in the newly created Central Gallery (formerly the cafe!). A real treat, described by the Southend Library team as 'the best and most professional show so far". Take a look - ends 24th August.


Central Gallery, First Floor, Sothend Central Library, Victoria Avenue, Southend-on-Sea, Essex.


Well all the hard work paid off and our new show is up!

In case you can't make it here are a few piccys

http://www.facebook.com/media/set/?set=a.1873377633632.2093334.1216897336&l=166609f357&type=1

http://hadleigh-essex.blogspot.com: The Boat Project

http://hadleigh-essex.blogspot.com: The Boat Project: "The Boat Project is the South East's entry to the Cultural Olympiad. Members of the public are invited to donate a piece of wood that will g..."

http://hadleigh-essex.blogspot.com: BT Storytellers Launches 14th July 2011

http://hadleigh-essex.blogspot.com: BT Storytellers Launches 14th July 2011: "BT Storytellers is a nationwide campaign run by BT for members of the public to share their stories of London 2012 and what it means to them..."

Relational Aesthetics

Thinking about my forthcoming final year of study and my intended direction with my studio practice, I have ordered the book Relational Aesthetics by Nicholas Bourriaud. By way of an explanation:
(Courtesy of Tate Glossary)

Relational Aesthetics 

The French curator Nicholas Bourriaud published a book called Relational Aesthetics in 1998 in which he described the term as meaning ¿a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space.¿ He saw artists as facilitators rather than makers and regarded art as information exchanged between the artist and the viewers. The artist, in this sense, gives audiences access to power and the means to change the world. Bourriaud cited the art of Gillian Wearing, Philippe Parreno,Douglas Gordon and Liam Gillick as artists who work to this agenda.

Gillian Wearing `I'm desperate' 1992-3

Deliverance

Deliverance

Rosalind Davis | Noam Enbar | Leanna Moran

25^th June – 30^th July,

CoExist Galleries, The Old Water Works, North Road, Southend-on-Sea, SS0 9XR

The exhibition title Deliverance inevitably filled me with certain expectations, connotations of salvation, a setting free or rescue from evil possession. I wondered who would be freed and from what?

On first encounter I found a sense of incongruity within the exhibition but somehow the individual pieces from the three artists resided comfortably and without jarring. This could be a result of the relatively few pieces on show. In addition there is a lot of white space both around and within many of the works on display. This in contrast however to the individual works of Rosalind Davis where every millimetre of each canvas is covered in fabric, brushstrokes and stitching detail.

For me the thread that draws the works together is an element of naivety; of Enbar’s stop motion cartoon-like animations; the simplistic drawings and subject matter of Moran and Davis’ unrefined line and perspective. Nevertheless, all of the works apparently masking something deeper, something darker despite the lightness of Moran’s touch, Davis’ floral fabrics and Enbar’s humourous overtones.

Noam Enbar’s short, looped video works are displayed on screens as if they are canvases of varying sizes. All but one piece, Offerings, which was singled out to be viewed in a small, darkened chamber within the Old Water Works.

I had the unusual experience of watching the piece alongside a mother and very young child, neither of whom I had met before, which undoubtedly affected my response. The unscheduled mother-to-child commentary gave it a humourous quality, ‘toilet humour’ almost, that is not necessarily confined to the province of the young. A passing similarity was drawn to Martin Creed’s Work No. 600 (2006). Flaccid ‘dancing’, being a key component of the piece, the decapitation and sadomasochistic actions of the animated characters was light-heartedly brushed aside for the benefit of the infant present. Thus, all the potential darkness of the piece evaporated for me as I almost viewed it through the eyes of the young child.

Later the same film was the subject of a screening in a larger dedicated space where the artist spoke to the exclusively adult audience at some length about the two-minute video animation. He spoke of dreams, alchemy and of folk music (this piece had a soundtrack composed and performed by Enbar himself). He also talked of ‘carnival’ and of ‘performer’ and ‘audience’ and I became acutely aware of my role as audience of the mediated spectacle.

Leanna Moran is fresh from her Fine Art degree and rose to the occasion admirably. Moran’s work is said to be evocative of her childhood, ironically described as exploring “the relationship between mother and daughter”.

The exhibition is well worth a visit and it is refreshing to see emerging talent showcased alongside established artist’s work. I wouldn’t necessarily recommend taking a small child but it can be, as I discovered, quite a freeing experience.

performative-action for Artside 2011

look out for my first live project created for Artside 2011..........

described as "a quiet performative action" I will undertake a journey that represents a very personal response to Southend and its High Street.

Leigh Art Trail 2011 - a personal journey. (This is a long one so take a deep breath!)

Leigh Art Trail 2011

I have decided I like journeys. The saying ‘it is better to journey than to arrive’ sums it up. This could explain why I never finish anything I start!

So the idea of ‘art’ and a ‘trail’ has obvious appeal to me. I have ‘done’ the Leigh Art Trail probably every year since its inception (I may have missed the odd one or two especially in its early years) but certainly since I have become an art student. Every year has a different feel, which is the organisers stated intention, but I wonder if it is me who brings a different perspective each year as my own art journey evolves.

I started the 2011 trail at the ‘wrong’ end, carelessly missing venue 47 (sorry) I began at venue 46, just as the first of many showers of rain began. I met Susan Allen, who furnished me with my art trail map and my first passport stamp for the ‘event’ Camino. More on that later. I particularly like Susan’s drawings and I met an elderly gentleman and fellow ‘trailer’ pausing for a coffee in the Taste Eatery.  Finding myself also on a Food Trail was an interesting addition. Pointing his finger at his Trail map the elderly gentleman recommended venue 29 St. Clements Church and I promised to take a look.

That’s one of the things I love about Leigh Art Trail you are immediately identified as a ‘trailer’ by the distinctively coloured map that you carry (which is well produced once again this year) and the thoughtful look on one’s face as you seek out your next stop or try to look interested in the art. I was stopped so many times for directions it made we wonder if I had accidently acquired an Art Trail sticker about my person or someone had playfully stuck a note on my back  saying “ask me”. I was slightly perturbed when an elderly couple asked me where the Leigh Folk Festival was.  Give me a break!

Onwards. Along Leigh Road – remember I am doing the trail backwards (that is in reverse order not actually walking backwards you understand but hey I might try that one year, could be a work of art in its own right!). A quick look in venue 40 and Howard Robinson’s lovely paintings. An established venue always very friendly and pleased to see you (unlike some I must say). Another passport stamp and a passport card for Camino. I was beginning to realise I didn’t understand this Camino passport idea, perhaps I should have researched it a bit more thoroughly but I’m sure they hadn’t accounted for my idiosyncratic movements through the trail nor the lack of cards available at venues and, to be fair, I don’t think the venues fully understood either when I asked for an explanation. I was later advised, too late to rectify my mistake, that the stamps should be collected in order and a completed card would spell out some kind of message. My sparsely and randomly filled, soggy card would not get full marks and I will never know!

With 47 venues you have to be pretty dedicated to complete the whole trail and have plenty of time too. So like me you probably would dip in and out where you think you might be interested. My criteria was to either see people I knew or that I wanted to meet or a venue that I hadn’t been to before. This took me to see a contact that I had never met in person and somebody I knew from school and as a bonus I was really impressed with their artwork!

What made this year’s trail for me wasn’t the established venues or artists or the expected mix of work. Leigh Art Trail is so democratic there is something for everyone to suit all ages, tastes and pockets I would venture. Personally I would like to see more ‘contemporary’ work but at the same time I love it because it’s accessible and not too ‘out there’.

As I stopped for a coffee and cake at venue 27 Went to Market Delicatessen and a look at Simon Feather’s work, another established pairing, and again a Food Trail venue. The first of many torrential, albeit short-lived downpours. This could be where I lost my olive green cardigan and the dye from my orange shoes came to stain my feet. This probably says more about my dodgy dress sense and my choice of inappropriate footwear than it does about the art trail but it is probably how I will remember this year’s event in years to come!

Liam Murphy at The Coffee Bean Company venue 26, a new venue this year with another recommendation from a very nice young man to visit venue 18 (a private house). Heading in the direction he pointed, I admit to visiting venue 9 en-route (The Estuary Gallery) just to shelter from the rain! Once again a familiar face and work but in a new venue this year. More space to show off Ian James' lovely photos.

Rain easing I was on a mission now to complete my journey. Forgetting to go to venue 18 after all but remembering the elderly man’s instructions earlier at Taste Eatery, I thought I should keep my word and visit St. Clements Church, However, as is often the case when you do the trail, I became side-tracked; met some people from college and spent a good deal of time looking at the Dovecote created by Madelaine Murphy before descending the steps to Old Leigh to discover if my sparsely completed passport card would offer any benefits at Camino. Also, I had a blind date, of sorts, which I was already late for.

The last part of my trail proved to be the most interesting. Slightly off-trail to be fair as two of the last four venues I visited were not on the map so to speak.

Another great thing about the Leigh Art Trail is the things that happen off the back of it, timed to coincide of course but the whole week is a testament to entrepreneurial spirit and I would suggest Leigh art trail week is now bigger than the event itself, if that makes sense. There is a whole community using the week as a platform for shop openings, gallery openings, exhibitions, websites, blogs, social networking - all spinning off the main event. And I think that’s a tremendously healthy thing to be happening.

Gallery 33, not on the trail map but definitely, geographically at least, on the trail for me. An associated blog and fledgling business in a great location, nice people and probably some of the best work I saw all day. I wish them well.

So finally I arrive at Camino. A big build up for sure and intriguingly called venue 0. A maze-like installation created from beach sand on the mud that is Leigh Beach when the tide is out. I had seen the artist Jo Hartle setting up early in the day and I had my, albeit few, passport stamps. The advertised times urged me to arrive before 2 pm before the tide took the work away. However arriving a bit later than planned at 12.50 the last remnants were just disappearing under the sea. An epic piece that, I was advised was originally a light installation, was well conceived and the artist’s enthusiasm for the work was infectious giving the work an international flavour by talking of touring and the mention of Nevada immediately putting me in mind of the land art of Robert Smithson’s in particular Spiral Jetty, an earthwork created in Utah.  My passport was not needed of course as I couldn’t walk the piece, although the artist suggested it might be shallow enough to paddle round if I was prepared to wade into the water. Already wet  - no thanks.

The build up to Camino was well engineered and the piece (probably) was very well executed. Apart from missing the work I felt like I missed the point a bit too. The connotations with pilgrimage and religious journey, an associated blog and the work billed as “Camino is a 44 day creation piece that will arrive and leave on 18th June”. I like journeys so I was hooked. I got the idea of the week-long ‘art trail’ journey and the passport stamps, but I couldn’t work out what the 44 day journey entailed or how the event was the climax. That’s probably just me, though.

So to my penultimate destination. Off-trail again and my blind date I alluded to earlier. An email contact from someone I had never met inviting me to his first show. Intriguing! How could I refuse? This is what I like best about art. People from all walks of life enjoying making art getting a buzz out of putting on a show. This show was a mix of paintings and photography by three friends. It was well executed and I received a warm welcome unlike a key art trail venue that I won’t mention where I felt I was intruding on a private gathering and was slightly in the way.

The biggest surprise? As an after thought I visited venue 3 at the Leigh Sailing Club. I was expecting just another mix of paintings, drawings and photography. I was not expecting to be handed a small UV torch and to be sent alone into a darkened room filled with smoke and ghoulish puppetry and assemblages. A great end to my trail and the artist John Adams seems a very nice man!

Thank you to everyone I met old and new. I’ll be back next year for more of the same and some more of the new hopefully.

Leigh Art Trail interactive map is here if you want more gen on the venues or artists. Sorry the trail has now finished for this year.

http://www.leigharttrail.co.uk/lat-p-TrailMap.htm

Roman Ondák

Roman Ondák has been described as a neo-conceptualist. He is known for making artworks so subtle that many people dont know they are there at all. Now that's my kind of artist!


http://www.youtube.com/watch?v=_zdYD4ZTc_Q


First experience of this artist was Measuring the Universe at Tate St. Ives this summer. (see a-n article below)

Quotations

"Creativity requires courage" Henri Matisse - tick,
"Where art goes regeneration follows" Tracey Emin - let's hope so,

Summer | Reviews | Interface | a-n

Summer | Reviews | Interface | a-n

my first 'published' piece of writing!

two interesting street art projects (not mine!)

http://www.flickr.com/photos/amooseabroad/sets/72157623340638685/

and

http://www.facebook.com/notes/the-vintage-festival/evol-street-art/209331555756698

self-consciously artful

One week to go before the end of year two 'body of work' hand-in for the Studio Practice module. I thought I would sum up some of the elements I have found most challenging.

As with all genres there are the obvious challenges of researching and coming up with the initial ideas. With site-specific intervention, which is what I have been working on, the time, energy and commitment required cannot be underestimated. Then getting those great ideas out of your head and having the courage to get out in 'the field' and place the work. For me, at least. it's a huge leap.

The biggest challenge of all for me though, is how to present site-specific work in an exhibition setting which is NOT the site and bears no relation to it. I have considered displaying the 'props' I have used for my 'interventions'. But this just didn't feel right. Out of context they would just seem insignificant and, as a tutor remarked, 'twee'. I agree.

So a display of some description seemed an obvious route to take. Put everything out there, all the images, all the field notes, found objects, everything that says "this is how much thought and effort I have put into this project". Still didn't feel right though, surely the interventions at the site is the 'work' and an exhibition can merely serve to document that. It became clear that it is those images of the interventions that are most important.

I recalled how Francis Alys' work was displayed at the Tate last summer, everything on display and in complete contrast to the recent Orozco exhibition, quite minimalist. I revisited the idea of a 'display' several times thinking that I need to tell the story, people won't get a series of random images unrelated to anything. But a phrase kept nagging away in my head - 'self-consciously artful'.

It was written on my assessment this time last year at the end of year one. I never quite understood what it meant, the tutor who wrote it subsequently left and I wasn't able to ask her. But now I understand, I think.

By trying to create an aesthetically pleasing 'display' I was self-consciously trying to create a new 'artwork' to please an audience when actually the art work had already been created and documented and all I need to do is be confident in showing that. In order to anchor it and create a 'narrative' I will include some other images that act as pointers but I will let the images of the work speak for themselves.

Wish me luck!

Flickr

Oops as I suspected my 'free' Flickr account is nearly full!! Shall I pay to upgrade? No I'll just delete some stuff and carry on for free!

William Raban

I was given this artist reference - Waterfall William Raban film 1983. In researching I came across this film made about the Olympic waterways by geography students of the Royal Holloway University of London

http://vimeo.com/12349415?height=100%&iframe=true&width=100%

A well balanced film about the effect of 2012 on the 'natural' or at least the urban, cultural environment of the East End of London. Includes an interview with Raban.

William Raban
Waterfall
1983, UK, 16mm, 8mins
A rarely seen film of Ron Hasleden's sculptural installation Graveing Dock at the Acme Gallery. Raban experiments with the acoustics of dripping water, an integral element of the sculpture, in relationship to the spaces within and around the structure. 

Pause Artside 2011

Hmmm.Shall I, shan't I?.......

http://www.artside.org.uk/getting-involved.html

POST UPDATE: well I did! Find out if I will later this year.

FURTHER POST UPDATE: I will. Find out if I should have later this year!

Bob and Roberta Smith

Yet again serendipity strikes!
I took myself to the local library to borrow a book on the history of Hadleigh. I was at the 'local studies' shelf scanning for the book I was after Hadleigh Past by Ian Yeardsley.

I spot an art book - not what I was expecting to see here! Turns out it is a book by Bob and Roberta Smith about a series of public art projects in the Thames Gateway in 2006/7. Art U Need - My Part in The Public Art Revolution. It is funny, moving and deals with the topics I have been looking at in a) Hadleigh and b) my dissertation.

'a personal diary that reflects his [the author's] own experiences of working in communities and raises questions about the role of artists in regeneration'

how spooky is that? Bob and Roberta Smith says:

"Art U Need has provided an antidote to kind of large-scale public art that tells people to rally around an iconic image"

I have read from cover to cover and will no doubt revisit it. Invaluable.

Oh and I found the other book too. A little harder going but interesting nevertheless and necessary research.

Species of Spaces

Today I am reading Georges Perec Species of Spaces and Other Pieces. Texts by the French writer as recommended for my dissertation. A more interesting, apt and entertaining read I have not encountered for a long while!!

Based on Paris and its environs - I have just spent the day in Paris and will do so again in a couple of weeks!! OK, Hadliegh is not Paris but how relevant to the work I am in the midst of creating. Examining the 'infra-ordinary' which is just my approach. New strategies are formulating in my mind!

One more for today

Can't remember how or why I came across this website earlier this year but I have tracked it down again and posting it here so I can find it again. Dissertation in mind again.

http://focar.artforclick.com/2010/05/29/exhibitions-and-art-installations/

Ssshh!!! Southend Fringe Festival - Fringe Guerilla Art Day

18th April - it's in the diary. Oops it's supposed to be a secret, don't tell anyone I told you!

http://www.facebook.com/event.php?eid=203317209697695&ref=


For 24 hours we invited you all to look around your local area and find ways to make the mundane and the ugly more exciting, beautiful and life enhancing. Obviously we ask that you don't do any damage, break any laws or tamper with anyone else's private property, but that still leaves the gate wide open for creativity. We ask that everyone photographs their efforts and emails the pictures to us at southendfringe@googlemail.
com , wherein we will be making an online gallery and possibly displaying hard copies of the photos at a future event. All submissions will be handled in strictest confidence and no real artists names will be revealed, so make sure you include a pseudonym if you would still like credit! Get thinking and planning now, and we'll meet you on the street.

Southend (City Status)

This dates back to 14th Feb but I remembered to look it up today in view of my dissertation topic.

David Amess, MP for Southend East speaks in the House of Commons regarding Southend applying for City status 2012 awarded for the Queen's jubilee. Lots of references to the culture of Southend. We already have a City Beach - half way there I would say!!

http://www.publications.parliament.uk/pa/cm201011/cmhansrd/cm110214/debtext/110214-0003.htm#11021427000495

I can feel a letter to my MP coming on.....

Southend Museum and The Beecroft Art Galllery

Note to self:
must visit The Beecroft Art Gallery, Westcliff before 2nd April. Two exhibitions on there that I haven't seen and want to see before they close. And this one when it opens 16th April at Southend Museum

http://www.facebook.com/event.php?eid=197404646957553

Artangel Collection

Some of the most iconic and influential artworks of the last twenty years. In my opinion!!

http://www.guardian.co.uk/artanddesign/gallery/2011/mar/21/art?intcmp=239

http://www.artangel.org.uk/about_us/the_artangel_collection

BT Storytellers

Thought I might have a crack at this:

http://www.btlondon2012.co.uk/index.html

Linked to the 2012 Olympic Games, you have to register to tell your 'story'. Doesn't have to be sport related, just as well!!

I only had 100 words - tough start for me!! This is what I have said:

With a lifelong dream to study art, I began my Fine Art degree as a full-time mum and mature student with graduation in 2012. Then the mountain-biking event arrived on my doorstep!

The small town of Hadleigh, Essex, where the event will take place, has become the focus for my artwork. Plans for the town’s regeneration and community engagement with art will be central to my final year.

Site-specific and ephemeral, my work often exists in the memory or recorded as a moment in time. Using lens-based media, found images, sound and text. 

I am living the dream.

Art for Social Change

Dissertation proposal first draft hot off the press. The gripping working title is:

To what extent can contemporary art act as a catalyst for social change, engage a community and engender a sense of identity?

I hope my tutor is as excited about it as I am! Will see this afternoon as I have a tutorial. @?!
POST UPDATE: Dissertation Proposal accepted. Dissertation here we come!!

So when I saw this it seemed relevant and thought I would post it here for future reference.

http://www.psuvanguard.com/art-for-social-change-1.2256198

Gabriel Orozco and the Tate Modern

Trip to the Tate Modern today.

I really enjoyed this exhibition. Been there got the T shirt. Well I would have if there was a T shirt - had to settle for the exhibition catalogue instead.

Gabriel Orozco - http://www.tate.org.uk/modern/exhibitions/gabrielorozco/default.shtm

Oh and this one:

Out of Place - http://www.tate.org.uk/modern/exhibitions/outofplace/default.shtm

There are some great quotes here in an two essays which will be useful for my dissertation.

When buildings cast the shadow of their own destruction by Kasia Redzisz 

and

What is overpowers what has been, and sends it there, onto a different path by Ala' Younis

and this was pretty cool too:

Ai Weiwei - http://www.tate.org.uk/modern/exhibitions/unileverseries2010/default.shtm

Phew!

Knit bombing!

Knit bombing or yarn bombing

“While other forms of graffiti may be expressive, decorative, territorial, socio-political commentary, advertising or vandalism, yarn bombing is almost exclusively about reclaiming and personalizing sterile or cold public places”

This is such a great artistic reference not only for my studio practice but the subject of my dissertation proposal.

Paris in the sunshine

Paris, Monet, street art and sunshine all in one day. Can't be bad.

Artist's Training Programme

I have come across this artist today - Elli Harrison. Fantastic!

http://www.ellieharrison.com/index.php?pagecolor=1&pageId=content-intro

I particularly like the Artist's Training Programme!

At the seaside, you know what to expect?

"There is a powerful sense of place at the seaside. You know what to expect" These are the opening words of Peter Williams in the intro to my recent book purchase (see earlier post) The English Seaside from English Heritage.

You don't expect this though!

http://www.turnercontemporary.org/

Absence of presence

Presentations all done. I have come away with a great thread of investigation - Derrida and Absence of Presence. This is just an introduction, I will have to find a proper text to really get into this theory/theorist.

http://courses.nus.edu.sg/course/elljwp/derriduction2.htm

I also came away with the message loud and clear that "you now have to get on with it". Need to start producing  some outcomes otherwise a great idea will stay just that - a great idea and not a body of work. A real absence of presence!!

Public Art and the Cultural Olympiad

Thought this worth a post. Public art projects for the Cultural Olympiad. Interesting quote "a big absence for us was the 'public' in public art"..

http://www.artinfo.com/news/story/37150/art-for-zeus-britain-picks-6-public-art-projects-to-vie-for-glory-in-the-2012-cultural-olympiad/

And check out the South East region

SOUTH EAST

Lone Twin (Gary Winters and Gregg Whelan), "The Boat Project"

Lone Twin's idea for the southeast draws on the same concept of collective giving, but with a more goal-oriented approach. Inhabitants of the region will be asked to give a wooden object particularly significant to them. Guided by professionals, "the community" (whoever that is) will then use the collected material to build a fully functional boat which will take them on a couple of Olympic trips. Let's hope somebody out there is collecting birch bark and some pitch to make it waterproof

http://www.theboatproject.com/