Do Ho Suh, Home With in Home
Do Ho Suh, Home With in Home |
View photos from Fall 2011 class (pdf)
Projects:
1. Proposals
2. Installation/Exhibition
3. A Document of Works
This is a Junior/Senior level studio seminar course in making and exploring installation and exhibition of temporal works of art and using documentation as an integral part of the work.
Studio work will be student driven and manifest in an exhibition in late October. Each student will present a proposal with drawings, models, and sample works for the installation/exhibiton by early September. The work students will do should relate to the form their works have taken in the past, however each student will be asked to challenge themselves to learn a new set of skills. All students who do not have sculpture building skills are required to do shop training and try to integrate some building/fabrication into their work. The documentation of the work, whether part of the piece or a record of the work, will be designed and printed in multiples by the end of the semester.
Essays for the course will expose the class to the historical and political underpinnings of installation and documentation. The focus of this year’s reading will cover the social contexts of exhibition spaces, the question of who is represented and who we serve in making works, or in performances and events.
A selection of readings have been assembled for you (see list enclosed). You are required to buy and read two books, From the Margins to the Center: The Spaces of Installation Art, Julie H. Reiss’84, and Relational Aesthetics, Nicolas Bourriaud. Both are avaiable in the book store.
Three visiting artists will further our discussion of contemporary art practice. These include a class visit by Susie Lee, a two-day visit from Do Ho Suh and a two-day visit and performance by Jamie Isenstein, a Reed grad from 1996.
The modern and contemporary Artist Book collection at Reed will be used for examples of the cataloging and documentation of temporal installation-based work. The new web archive of Reed’s Artist Books will enable students to review this work.
Technical training in wall/space construction, theatrical lighting and book/document production including book layout, binding and letterpress will be covered. Conscious use of materials, including recycled lumber and metals, green building and printing practices will be emphasized in all studio production.
This course is open to all students who have taken sculpture, painting, photo and digital media.
It is expected that you can fabricate a body of work and have a fair amount of art-making skills to produce an exhibition and that you have a knowledge of modern and contemporary art practice. All students are required to have read “Sculpture in the Expanded Field” by Rosalind Krauss and must be familiar with issues of phenomenology and conceptual art practice.
Books/Readings
Historically Framing Installation, Performance, Participation 1960-present
Inside the White Cube Brian O’Doherty
From the Margins to the Center, The Spaces of Installation Art, Chapters 1& 3 Julie H. Reiss
Relational Aesthetics 1-40 pp Nicolas Bourriaud
Antagonism and Relational Aesthetics Claire Bishop
Process = Product
Do Ho Suh Visit
Do Ho Suh (Catalog), Miwon Kwon
The West and The Rest, Stuart Hall
Psycho Buildings, Intro Ralph Rugoff
Jamie Isenstein Visit
Jamie Isenstein at Andrew Kreps Gallery, David Velasco
Art and Text
Schwitters Legacy, Will Hill
Additional:
Think Again-Harrison
Text Art Today-Beech
Reference:
Books Boxes and Portfolios, Franz Zeier
No Longer Innocent, The Sculptural Bookwork, Betty Bright
Art as Document
The (Un) Sittings of Community Miwon Kwon
The Fire this Time, Alfredo Jaar
Visiting Artist Lectures
September 14 Susie Lee
September 20-21 Do Ho Suh
October 27 Jamie Isenstein
Assistance:
Emily Johnson – Letter press, InDesign workshops, and help Nov 2-Dec 7
31.Intro
Reading: White Cube
2. Discussion/meetings
Reading: White Cube
Workshop Training-Wood Thursday 1-4
7. Discussion/work time
9.Proposals DUE
Reading: From the Margins to the Center
Workshop Training-Steel Thursday 1-4
14. Discussion-Susie Lee
16. Work time/meetings
Reading: Do Ho Suh
Workshop Training-Digital lab Friday 1-4
21.10am Do Ho Suh in class. Lecture at 7 pm
23. Work time/meetings
Reading: Relational Aesthetics
Workshop Training-Digital Printing Friday 1-4
28. Discussion/work time
30. Work time
Reading: Antagonism & Relational Aesthesis
Open Studio Time Thursday 1-4
5. Discussion/work time
7. Work time
Reading: The West and the Rest
Open Studio Time Thursday 1-4
12. Discussion/work time
14. Work time
Reading: Jamie Isenstein
Fall Break
26. Crit
28. Crit/Jamie in Class
Reading: Art and Text: Schwitters Legacy
2. Class split-Letterpress workshop/view books
4. Class split-Letterpress workshop/view books
Reading: Art and Text/the Sculptural book
Workshop-digital & letterpress
9. Discuss text-based work:Work/design
11. Working/meetings
Workshop-digital & letterpress
16. Working/meetings
18. Working/meetings
Reading: The (Un) Sittings of Community Miwon Kwon
The Fire this Time, Alfredo Jaar
Thanksgiving
30. Working/meetings
1. Working/meetings
7. Working/meetings
Final-Dec 13/14
We will be reading about and discussing art in the expanded field from the 1960-present. Both the materials and forms art takes on as well as the spaces it takes place in have shifted greatly. The essays Inside the White Cube and the From the Margins review those who reconfigured the tradition of art exhibitions and changed our understanding of how we view art and who gets to view it. Those that worked outside of the white cube to make works gave birth to what we now consider “Relational Aesthetics”.
Now more than ever, the artist and the public are very aware of the institution or the lack of intuitional support as a frame for seeing/reading works of art. Much of the work that is in an installation format or a “Relational Aesthetic” has been temporal, ephemeral, viewer-participatory or performative. Much of this work lives on only as a document, some of it is the document and sometimes the event or exhibition is where the documentation is physically made.
For your project you must first define the space and your audience. This is your framework to start from. The materials you manipulate in that space could be the space itself or the interactions of the viewers. Additionally you will challenge yourself to use new materials you have not yet worked with.
Consider the following issues:
Who it is you are making work for.
Look at/measure/consider spaces or various locations.
What is the conceptual framework of your idea for this space and this population?
What materials do you know how to manipulate?
What do you need to improve in and what do you want to learn?
How will this turn into a document and/or be documented?
Part 1. Proposals: Due Sept 9
1. Describe past work, gather images and/or draw out ideas.
2. Research the type of work you find interesting and what you hope your work to look like. This should include at least two other artist works.
3. Locate the space you will make the work for and develop your ideas based on this choice. Photograph the space and/or draw/make notes of interactions in the space. If choosing the gallery, define how you want to work in this particular gallery. If your space is outside of the gallery, do you need to make arrangements with others, (the college, etc.) to do the work?
4. Make a model and/or a formal proposal for the class to look at. Bring image samples of past work and the work of others. The proposal does not need to be completely thought out, you will have time to develop an exact formulation of the project.
Part 2. Individual meetings Sept 14-
We will meet to discuss how to execute, what materials you need to learn and how to begin the process. Keep in mind that in a class like this you are not expected to know how to do all of the craft-based skills the work may require, or the management of space/people and we are here to teach you these things. Come to meetings with drawings and models, we will problem-solve together.
Part 3. Final Installation/Exhibition/ Due October 26
Work will be installed beginning Oct 24.
Your project should consciously have a documentary aspect to it. We will look at the Artist Book collection at Reed to become familiar with publication and editions as a way for artist to expand their audience and achieve their own body of work.
Each of you will design a piece that documents your work; we will help you explore the formats available and the materials that can use. These documents can be audio, video, web sites, books and prints.
You will make one large scaled version, a kind of deluxe edition, and one smaller reproducible piece that you will contribute to the box set made by the class.
Consider:
How do the format and materials you make the document out of reflect on the actual work?
How does text function in your work when and if text is needed in the document?
What is happening in your main work that could be captured and kept?
How do you save information, and is your saving/recording the only archive of the work? Should you have others come in to see your work and photograph it?
Reference/Websites:
Artist Books - http://cdm.reed.edu/cdm4/artbooks/index.php
MOMA - http://www.moma.org
Psycho-Buildings - http://www.southbankcentre.co.uk/visual-arts/hayward-exhibitions/psycho-buildings/exhibition
Art 21 - http://www.pbs.org/art21/
Fluxus - http://www.fluxus.org/12345678910.html
White Cube: http://www.whitecube.com/artists/
Artist Collectives:
Architecture/Planing/ collaborations:
Muliplicity
http://www.multiplicity.it/index2.htm
Park Fiction
http://www.parkfiction.org/unlikelyencounters/index.php
SIMPARCH
http://www.crailtap.com/c2/simpark.html
http://www.crailtap.com/c2/index2.html
Raqs Media Collective
Monica Narula, Jeebesh Bagchi, Shuddhabrata Sengupta
http://www.sanjitdas.com/vivan/raqs-bio.html
Social political activist:
Group Material
http://eserver.org/cultronix/tts/gm.html
The Atlas Group:
http://www.theatlasgroup.org/
http://www.in-transit.de/content/en/program/raad.html
The Wooster Collective
http://www.woostercollective.com/
Artist:
Jamie Isenstein
http://www.andrewkreps.com/artists_portfolio.html?aid=57
Do Ho Suh
http://www.lehmannmaupin.com/#/artists/do-ho-suh/
Emily Jacir
http://www.debsandco.com/jacir.html
http://www.columbia.edu/cu/museo/6/jacir/
Rirkrit Tiravanija
http://adaweb.walkerart.org/context/artists/tiravanija/tiravanija2.html
http://nymag.com/arts/art/reviews/31511/
Susie Lee:http://www.susiejlee.com/
Gordon Matta Clark
http://www.nytimes.com/2007/03/03/arts/design/03matt.html
Databases of International Artist groups/ Archives:
Documenta
http://www.documenta.de/data/english/index.html
The Walker Art Center
How Latitude Become Form:
http://latitudes.walkerart.org/overview/
InIVA
http://www.iniva.org/
UNNESCO
http://portal.unesco.org/culture/en/ev.php@URL_ID=14821&URL_DO=DO_TOPIC&URL_SECTION=201.html
The Arab Image Foundation
http://www.fai.org.lb/english/fset-presentation.htm
Documenta
http://www.documenta.de/data/english/index.html
Residencies/ Alternative Spaces
US:
The Mattress Factory
Hall Walls
Spaces
DIA
PS122
The New Museum
White Collums
Closed-
CAPP Street
The Kitchen
London:
Gasworks
http://www.gasworks.org.uk
Triangle Arts Trust
http://www.triangleworkshop.org/
Triangle Network Websites
* Burragorang International Workshop - Australia - http://www.burragorang.org
* Britto Arts Trust - Bangladesh - http://www.brittoarts.org
* KmO - Bolivia - http://www.bolivianet.com/km0
* Thapong – Botswana - http://www.thapong.org
* Batiscafo - Cuba - http://www.artcuba.com/sitios/batiscaf
* Wasla Workshop - Egypt - http://www.wasla.net
* Triangle Studios - France - http://www.lafriche.org/triangle
* Khoj Workshop – India - http://www.khojworkshop.org
* Kuona Trust – Kenya - http://www.kuonatrust.org
* Tulipamwe Workshop –Namibia - http://www.tulipamwe.org
* Aftershave Workshop - Nigeria - http://www.aftershaveworkshop.org
* Bag Factory - South Africa (JHB) - http://www.bagfactoryart.org.za
* Greatmore Studios – South Africa (CT) - http://www.greatmoreart.org
* Rafiki Art Trust - Tanzania - http://www.artshost.org/rafiki
* Caribbean Contemporary Arts (Big River Workshop) – Trinidad - http://www.cca7.org
* Ngoma Workshop- Uganda - http://www.artshost.org/ngoma
* Gasworks Studios – UK - http://www.gasworks.org.uk
* Braziers Workshop - UK - http://www.braziersworkshop.org
* Triangle Workshop - USA - http://www.triangleworkshop.org
* La Llama –Venezuela - http://www.lallama.org
* Insaka Workshop - Zambia - http://www.artshost.org/insaka
* Rockston Studios - Zambia - http://www.rockstonart.org
* Surprise Art Centre - Zimbabwe - http://www.surpriseartcentre.org
BOOK MAKING
http://www.philobiblon.com/programs.shtml
For resources/ materials guide:
http://www.bookmakerscatalog.com/
http://www.philobiblon.com/bookarts_links.shtml
Schools:
http://www.artbookscreativity.org/curriculum/curriculum.html
How to:
http://www.bookarts.ua.edu
Archives:
http://www.granarybooks.com
http://franklinfurnace.org
http://minsky.com/gallery.htm
Artists:
http://www.littlesparta.co.uk/
http://www.texturaprinting.com/
http://www.angelalorenzartistsbooks.com/firstpage.htm
Suppliers
http://www.bookworks.org.uk/asp/home3.asp
http://www.harmatan.co.uk/
http://www.toolsforpaper.com/
http://www.bookbinding.co.uk/
http://www.talasonline.com/
http://twinrocker.com/
“Rauschenberg’s requirement that the viewer participate in the creation of the
work is a radical departure from the traditional relation between artist and audience… In Soundings,
he insists that the viewer become his collaborator; without him the work does not exist.”
22 October 1968, MoMA Press release
Tiravanija
“Artistic activity is a game whose forms patterns and functions develop and evolve
according to the periods and social context.”
“The exchange that takes place between people, in the gallery or museum space, turns
out to be as likely to act as the raw matter for an artistic work.” 2, February
2009, Tate Modern, Nicolas Bourriaud