Independent Studio Practice

Working day & Documentation

Wednesday 2:00


Today I want you to come to class ready to work on your terrible art pieces, and be prepared to speak directly with me about your goals throughout the semester.


I will expect to see progress on your Statement of Intent as well as evidence of your direction and approach to the year.


We will also talk about the concept of doing fast and cheap studies of your work and will get into what the idea of a “resolved work” and how this relates to the creation of your work.


Some Inspirations and possible directions for your own personal development. Please be reminded that in addition to these prompts. You must also be developing your own work, and documenting your process on your own pieces as well.


We do not Critique the prompts. We can look at them individually. I can’t stress the importance of this enough. This is a studio practice class where it is essential that you work outside of class developing your own personal projects throughout the duration of the course. If you just whip something together in the final weeks you will not pass the course. There must be evidence of a constant commitment to your development of a studio practice.


You must develop your own work independently as well as respond to the prompts.


Here are some things to get you thinking about art making and your process from Sol Lewitt.


Sentences on Conceptual Art
by Sol Lewitt
Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.


Rational judgements repeat rational judgements.


Irrational judgements lead to new experience.


Formal art is essentially rational.


Irrational thoughts should be followed absolutely and logically.


If the artist changes his mind midway through the execution of the piece he compromises the result and repeats past results.


The artist’s will is secondary to the process he initiates from idea to completion. His wilfulness may only be ego.


When words such as painting and sculpture are used, they connote a whole tradition and imply a consequent acceptance of this tradition, thus placing limitations on the artist who would be reluctant to make art that goes beyond the limitations.


The concept and idea are different. The former implies a general direction while the latter is the component. Ideas implement the concept.


Ideas can be works of art; they are in a chain of development that may eventually find some form. All ideas need not be made physical.


Ideas do not necessarily proceed in logical order. They may set one off in unexpected directions, but an idea must necessarily be completed in the mind before the next one is formed.


For each work of art that becomes physical there are many variations that do not.


A work of art may be understood as a conductor from the artist’s mind to the viewer’s. But it may never reach the viewer, or it may never leave the artist’s mind.


The words of one artist to another may induce an idea chain, if they share the same concept.


Since no form is intrinsically superior to another, the artist may use any form, from an expression of words (written or spoken) to physical reality, equally.


If words are used, and they proceed from ideas about art, then they are art and not literature; numbers are not mathematics.


All ideas are art if they are concerned with art and fall within the conventions of art.


One usually understands the art of the past by applying the convention of the present, thus misunderstanding the art of the past.


The conventions of art are altered by works of art.


Successful art changes our understanding of the conventions by altering our perceptions.


Perception of ideas leads to new ideas.


The artist cannot imagine his art, and cannot perceive it until it is complete.


The artist may misperceive (understand it differently from the artist) a work of art but still be set off in his own chain of thought by that misconstrual.


Perception is subjective.


The artist may not necessarily understand his own art. His perception is neither better nor worse than that of others.


An artist may perceive the art of others better than his own.


The concept of a work of art may involve the matter of the piece or the process in which it is made.


Once the idea of the piece is established in the artist’s mind and the final form is decided, the process is carried out blindly. There are many side effects that the artist cannot imagine. These may be used as ideas for new works.


The process is mechanical and should not be tampered with. It should run its course.


There are many elements involved in a work of art. The most important are the most obvious.


If an artist uses the same form in a group of works, and changes the material, one would assume the artist’s concept involved the material.


Banal ideas cannot be rescued by beautiful execution.


It is difficult to bungle a good idea.


When an artist learns his craft too well he makes slick art.


These sentences comment on art, but are not art.




Thursday 2:00

You will have class with Branislava who will go over what you need to do in order to properly document your work, as well as make clear what the statement of intent is and how it is related to this documentation throughout the semester.


The module guide is designed to support your studies in the Independent Studio Practice Module in Year Three. It contains information that will help you to understand the structure, content, and delivery of the module and the kind of learning experience, aims, and outcomes you can expect. It is also a useful resource document that will give you advice on how to get the most out of this module.