Tuesday, February 2, 2016

Studio Crisis and Methodological Playground

Notes on Studio Crisis by Jan Tumlir


  • What is a studio space? Where does it begin and end? Does it even have a beginning and an ending? Where do you fit in the equation? 
  • Collaboration with others - causes a "resist from artistic specialization". 
  • Bringing the street to the studio
  • Original concept occurred in 1970 at CalArts by Baldessari
    • Didn't want to call it "conceptual art" - thus, "Post-Studio Art"
    • Didn't want to teach painting, sculpture, or activity done by hand
    • Howard Singerman, "The basic assumption of this project is that where and how artists are dictated now…makes a difference."
    • Singerman, "At the end of the day, one has to question 'whether the artist is a professional trained at a university…or a university professional -- that is, whether art is an academic discipline.'"
      • Work made to fit school setting infiltrates the substance of the work. Work becomes institutionalized. 
      • What was made "instead" - academia
  • Do you think the space you work in influences your work? Your identity? Think about visitors, teachers, visiting artists, fellow students, etc. Do you only have one studio?
  • Does your studio act as your "mind-space"?

  • Ignoring the rectangular field - Pollock's work goes on "infinitely" - Kaprow
    • Painter = acting in a role | surrounding space = set
    • Non hand using artists = art making process internalized
      • hand = expressive outlet which uses an object to manipulate
      • no hand = psychological on owner
        • Hierarchy?

  • Artist chooses not to work as the work
  • What is boring art? Does boring art exist?
  • Post-studio assignments - to think backwards
    • Real or dire implications - stealing, lying, vandalism, etc 
  • Studio conflating with the domestic
    • Artist trapped in work or leisure through space - the home
    • Womanhouse - work made in direct response to rooms in the house

  • Does "architecture contextualize and effect trauma"? How?
  • Post studio = schizophrenic consciousness 

A Methodological Playground: Fictional Worlds and Thought Experiments

  • Creating a fictional "world" in relationship to creating fictional "work"?
    • world = laws, ethics, political systems, social beliefs, values, fears, and hopes
    • How do we achieve this as artists? Designers? 
  • Literature and fine art = most promising sources of inspiration
  • Utopia
    • literary utopia, utopian practice, and utopian theory
    • How do we use utopia as as stimulus to keep idealism alive?
  • Dystopia
    • How will consumerism and capitalism impact our social relations and ethics?
  • Literature = use of imagination to construct world
  • Cinema = imagining done for the viewer
  • Designers = ???
  • Narrative = story
  • Ideas = ?
  • Speculative work - Atwood's Oryx and Crake
    • social, cultural, ethical implications of science and tech
  • What's the importance of idiosyncrasy in relationship to speculative work?
  • Speculative design's complex relationship to reality and unreality
    • "thought experiments
      • fields with precise limits and rules (math, science, philosophy)
      • absurdity - toaster
      • counterfactual - altering history
      • what-ifs - aliens takeover 
        • Where do "thought experiments" come into your practice?
  • Creating speculative work which coexists with the viewer.
  • Milan Kundera, "A novel examines not reality, but existence. And existence is not what has occurred, existence is the realm of human possibilities, everything that man can become, everything he's capable of. Novelists draw up the map of existence by discovering this or that human possibility."

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