Banksy
Gabriel Orozco
1. Introduction and Outline of Project
Symbolic, Iconic and Indexical are terms that describe a relationship between what is represented and the thing that it refers to. Indexical representations are those where the thing that is represented directly causes the form of the representation.
A good example of this is a photograph showing what was in front of the lens at a particular moment. Other examples of indexical representation include footprints, fingerprints and smoke signals.
CSI: Elam
• Using photography you will document a ‘crime scene’. We don’t want to encourage you to break the law, but think about how you can construct a story out of a particular place/event at a particular time. To do this you will be photographing a scene that you have either found, that looks like a crime scene, or else a scene/situation/event you have created.
• Decide on how you are going to construct your scene…whether it is serious or humorous, replicating CSI imagery (i.e. paint spatters for blood) or transgressive interventions (graffiti or assemblages in supermarkets, i.e.: Banksy or Gabriel Orozco). This planning is to be done in class time.
• Make notes, draw diagrams, plan and think about possibilities. Work in small groups (of 4-6) to devise a narrative or narratives and test narratives with others. Is there a collective understanding of what a ‘crime scene’ is? Motivate/dare each other to create an authentic/unusual ‘crime scene.’
• Work on it, and then make a provisional presentation within the last hour of class time (role-play, statement, sketches).
2. Project Aims
• To introduce the concept of indexical representation.
• Dealing with a narrative or narratives in one’s practice and how collective narratives may or may not influence one’s work. Is there agreement/disagreement about what a crime scene looks like? Does placing cat food tins on watermelons constitute a crime? Does it have a narrative?
• Introduce the term ‘transgressive’ into the students’ vocabulary.
• Discuss what the difference is between constructing something and finding something in the world? Think about where to collect relevant information/material to trigger ideas. Look at books on artists mentioned in lecture, look on the website, watch films, watch CSI shows, read a murder-mystery novel, i.e. Looking at popular culture for inspiration.
• Learning to plan a work, research it and present in a variety of media: photos, notes, drawings, and physical evidence. How is this drawing? The class should see that gathering information and thinking in terms of a narrative is as much about drawing as putting pen to paper. It is about developing imaginative thought processes.
3. Independent study
• Use the Internet, library, bookstores, television programs and/or movies for ideas.
• Continue planning before committing to a photo. Print the photograph in some form (i.e. developed or printed on a printer at home or at Elam) and place it within a sketchbook context (either pasted in or kept within the accompanying notes).
• After the photograph is printed, make notes to explain the scene (i.e. document the event). This may be done in a way that mimics a Crime Scene Investigator or it may be done in a way that explains your interpretation/understanding of the ‘crime’ that has taken place (be imaginative with your descriptions but also be prepared to explain it to your classmates). Possibly draw onto the photograph, write about the situation in which it occurred: where, when, how. Think about how it has changed from the initial idea, if at all, and write about how the idea might have changed due to the constraints of time and place.
4. Intended Student Learning Outcomes of the Course (objectives)
By the end of the session students will:
• Be able to recognise and demonstrate a wide range of drawing techniques/styles and methods.
• Demonstrate an ability to make informed decisions based on awareness of wide ranges of procedures.
• Use drawing as a means to develop and research ideas.
• Use drawing as end in itself.
• Resolve drawing problems and develop strategies for presenting them.
5. Bibliography
Gordon Matta-Clark
Maurizio Cattelan
Gabriel Orozco
Alex Bagg
Banksy
Daniel Malone
Yoko Ono
Erwin Wurm
Michael Stevenson
Tacita Dean.
session contacts-dan@naturalselection.org.nz, s.esling@auckland.ac.nz
No comments:
Post a Comment