The Look

Minimalistic, working with the space?

Juxtapose rusty with shining colours perhaps? That is mostly for Louis and Cal to decide.

We should encourage/include all types of artist.

While keeping in mind things like cost we decided that the adverts should be placed as follows -

Small leaflets/flyers in art shops, libraries, and (maybe) schools

Page adverts on art magazines and in universities

Large adverts in bus stops

It has been left with Luke to find the actual cost of these things, which can then be discussed more solidly.

Roles have been loosely assigned at last:

Louis and Cal - Graphic design (call for artists' and adverts)
Luke - Finanaces
Dan - Timetabling
Me - Writing/Anything else, it seems.

Decicions Made
The adverts will be placed mainly around art universities and the South West- The main target for artists being students/young/emerging artists.
-> This will mean setting up a 'contact' to submit to, Twitter/Facebook/Blog etc.
Using a competition, as well as helping emerging artists, is useful for saving some money in comissions.

Visitors should be able to contribute - 'leave their mark' - Through workshops, talks by contributing artists etc.
-> The ground floor should be interactive (or mainly interactive) and sensory.

Looks shall be made through the museum's artifacts for relevant objects to be mix and matched and augment(ed by) the art objects.

Human Remains?

An exhibition on human remains? Clinging to thier existence in the museum.

We will be thinking of it as a whole, rather than concentrating on specific works of art to stay focussed on the curatorial aspects.

Mock up adverts need making.

Rejuvenation/Reanimation

We've started considering more the places and locations of the exhibition. Avoiding 'transitional' places - like foyers, corridors and walkways - is probably best, and keeping it liminal. However, it should all stay quite public and accessable.

We plan to respond to the museum itself somehow - maybe appropriating spaces or using artifacts from the archive, as well as a conceptual edge (as an archive/mausoleum or not).

Virtual Curation!

http://rejuvenationconcentration.blogspot.com/

Museum/Mausoleum

Theodore Adorno - Objects in the museums are dying - left behind, left to die
-> There is a transformation once something is put in the gallery, it goes from 'object' to 'Artifact'

Marti Heidigger - Collectors withdraw items from their own world.

Hans Georg Godamer - "[The museum] detaches all art from its connection with life and the particular condition of our approach to it."

Merleau Ponty - "Sunday strollers or Monday 'intellectuals'."


The idea is, apparently, to make the argument extreme - to take the bullet of 'militantism' and challenge the system/belief/the reader. I find the effectiveness of this strategy questionable - it runs the risk of pushing away the people who will always disagree and possibly the more moderate sort. Although it does open up the scope for debate regardless.

(See Mark Dion, Christian Boltanski(?))

"Write for the audience... A Gallery Wall Plaque on 1 Piece"

Charles Avery's installation with accompanying text could easily be considered an illustration amongst his many other drawn forms of the 'Island' that he has been creating and developing since 2004. Avery likens his work and characters in The Island to that of the Coen brothers' "In the way [the Coens] favour the same actors from film to film."
As a standalone piece 'Untitled' or 'Miss Miss finally gives in by the tree Where Aeaen sought to bamboozle the One-Armed Snake by attaching himself to the tree to make himself a bigger thing' is meaningful in it's own right, combining philosophical and symbolic thought with wit and narrative he has presented a piece that is both partial and complete.

On Writing On Art

Is there something of a Marxist ideology here, after all?

There certainly seems to be something in the artificial cryptic-ness of museum 'speak' - The plaques and booklets that are so full of nothing. A kind of Art Big - You Small feel to it all, maintaining the status quo and mystique of a gallery, perhaps.

A kind of powerplay?

Saatchi is the case in point. 'Newspeak' indeed.

I read an article on the exhibition some time ago - "It's Big, But is it Clever?" Can't remember where though, or who wrote it. Title sums it up pretty efficiently anyway.

"The poem is spoken be a girl with an Electra complex. Her father died while she thought he was God" -Sylvia Plath

• Critiques
• Rationales
• Annotation
• Titles
• Writing as art
• Essays
• Articles
• Records
• Journals

Artists giving their work titles is a primarily 20th C thing. Prior to that the 'titles' were mostly just descriptive - e.g. The Madonna on the Rocks.

There is something of a discussion to be had about whether a title affects a piece for the better or worse, though like most things it would probably be best to approach on a case-by-case basis.

It's not something I've given much thought to before now - not enough, anyway - just how the way work is displayed can affect it's perception. The differences between ours and other people's methods were quite striking in some ways.