Tag Archives: feedback

WORKSHOPS

How To Start Your Own Art School zine workshop
Alternative Art School Weekender 22-24 March
Organised by TOMA (The Other MA)

Saturday, 23 March 2019, 12-4pm
Ugly Duck, 49 Tanner St, London SE1 3PL
Closest stations: London Bridge, Bermondsey
All welcome

Alt Art School Weekender flyer by Laura Adamson (TOMA)A collaborative DIY workshop to collect ideas on how to start an alternative art school in a handy, informative and entertaining guide made by its participants.

Help us put together a guide on How To Start Your Own Art School! Come along to the workshop with your tips, ideas, stories, anecdotes, advice and full-blown manifestos.

We will use all kinds of techniques, including collage, drawing, calligraphy and cut up poetry to produce A6 zine (105mm x 148mm). Materials and tools will be provided but you are welcome to bring your own. The workshop will be a space to chill out, make something beautiful and exchange ideas.

If you can’t come along to the workshop you can send your readymade page beforehand to info (at) artandcritique (dot) uk.


What is Alternative Art Education?
UK Commons Assembly @School for Civic Action
Organised by Public Works and Commons Rising

Friday, 20 July 2018, 10am-8pm
Tate Exchange, 5th floor, Tate Modern, London SE1 9TG
Tube/Train: London Bridge, Blackfriars, Southwark
All welcome, booking via Eventbrite

ART&CRITIQUE workshop, First Alternative Education Open-Day 2017. Photo School of the Damned.
ART&CRITIQUE workshop, First Alternative Education Open-Day 2017. Photo School of the Damned.
ART&CRITIQUE workshop, First Alternative Education Open-Day 2017. Photo School of the Damned.
ART&CRITIQUE workshop, First Alternative Education Open-Day 2017. Photo School of the Damned.
ART&CRITIQUE workshop, First Alternative Education Open-Day 2017. Photo School of the Damned.
ART&CRITIQUE workshop, First Alternative Education Open-Day 2017. Photo School of the Damned.

In the last ten years alternative art education has burgeoned into a full-blown movement, fuelled by economic crisis, austerity and the liberalisation of higher education. But what is alternative art education? Who is it for and what is it alternative to?

There are as many different formats and models of alternative art education as there are art schools, but in what ways is alternative art education expected to be different from traditional art education? Should alternative art schools try to emulate accredited MFAs or are they expected to radically re-imagine art education? How should alternative art schools be organised, structured and funded? Are alternative art schools expected to resist and reform institutional models of education and pedagogy? What would a cooperative art school look like?

We will address some of these questions, exchange ideas and discuss the future of alternative art education in a participatory workshop. Come along and bring your own questions.

This workshop is part of the UK Commons Assembly organised in the context of The School for Civic Action in collaboration with Commons Rising, an open platform for commons initiatives to come together, exchange knowledge and to see if there is an appetite for an ongoing UK Commons Assembly.

In a contemporary context of much inequality, the Commons discourse introduces models of sharing. The Commons are about the assets that belong to everyone, forming resources that should benefit all, rather than being enclosed to just a few.

The aim of the day is to put on an exhibition showing the wealth of Commons projects happening in the UK. There will be discussions as well as workshops to inform the public about the commons. It is also an opportunity to vision how the commons might work beyond the individual projects and to set up practical outcomes going forwards.


What is alternative art education?
FIRST 100% OFFICIAL UNOFFICIAL ALTERNATIVE EDUCATION OPEN-DAY
Organised by School of the Damned
Part of Art Licks Weekend 2017

Sunday, 1 October 2017, 1pm-6pm
SET, 76-89 Alscot Road, London SE1 3AW
Overground: Bermondsey MAP
Booking via Eventbrite

School of the Damned's FIRST 100% OFFICIAL UNOFFICIAL ALTERNATIVE EDUCATION OPEN-DAY. Set Space, 1 Oct 2017.
School of the Damned’s FIRST 100% OFFICIAL UNOFFICIAL ALTERNATIVE EDUCATION OPEN-DAY, 1 Oct 2017. Flyer by School of the Damned Class of 2018.

THE FIRST 100% OFFICIAL UNOFFICIAL ART EDUCATION OPEN-DAY is an informal open day exploring the plural experiences of alternative art schools and wider conversations of alternative education all together. An opportunity to get to know existing alternative art schools but also teach you how to DIY or DIT (Do It Together).

School of The Damned will use this day as the launch for inviting applications for 2018/19. Alongside this, alternative art schools or courses will showcase how they are unique through workshops presenting their individual identity; AltMFA, [ART&CRITIQUE], PACTO, School of the Damned, Syllabus, TOMA, Turps Banana.

For more details on each workshop please click the headings below or download the programme.

12:00 Welcome, tea & coffee
12:30 SOTD: Building an Active Archive

A workshop introducing ‘The Active Archive’: an online investigative tool for those interested in engaging with and facilitating alternative ways of learning. DOWNLOAD our page from the zine with an A4 poster.

13:00 Art&Critique: What is alternative art education?

Within the last ten years alternative art education has burgeoned into a full-blown movement, fuelled by economic crisis, austerity and the liberalisation of higher education. But what is alternative art education? Who is it for, and what is it an alternative to?

There are as many different formats and models of alternative art education as there are art schools, but in what ways is alternative art education expected to be different from traditional art education? Should alternative art schools try to emulate accredited MFAs or are they expected to radically re-imagine art education? What are the drawbacks of traditional art education and what practices are worth preserving? What alternative or radical pedagogies and practices would play an important part in alternative art education? What are the learning outcomes of alternative art education, and how should these be evaluated? How should alternative art schools be organised, structured and funded? Should they be free, accessible and self-organised? How do alternative art schools get access to resources and what do they need to become sustainable? Do alternative art schools have social and political obligations? Are alternative art schools expected to resist and reform institutional models of education and pedagogy? Should alternative art schools challenge art institutions and the art market? Should alternative art schools participate in political struggles of resistance against war, social injustice and climate change? What are the objectives of alternative art education?

Together we will address some of these questions, exchange ideas and discuss the future of alternative art education in a participatory workshop. Come along and bring your own questions and ideas to the discussion.

Download our zine page with an A4 poster in colour or black & white.

13:30 AltMFA

AltMFA is a recipe that we make up together, inventing as we go, using whatever ingredients we can get hold of – a cocktail of the personalities, passions and histories of whoever is at the meeting. Bring an ingredient to add to the strange salad we will be making together as we collectively transcribe the recipe for an alternative art school.

14:00 – 15:00 Lunch
15:30 Pacto: Radical Research Methods

Pacto would like to further explore how self organisation takes place. A workshop challenging the symposium to create a model for collaborative research.

16:00 Syllabus: Manifesto towards a Syllabus

Wysing Arts Centre’s Assistant Curator John Bloomfield will be joined by members Tom Smith and Frederica Agbah from Syllabus II and III to discuss the manifestos that each year’s group have drawn up. Composed during the first retreat of each year the manifestos are used to shape the ideals of the group and to lay down ground rules for the year ahead.

16:30 Turps Banana: Correspondance Course

Patricia Mulligan (Turps Banana) will be in conversation with Emily Woolley (SOTD) about her experience of the correspondance course and finding ways to practice and study post graduation.

17:00 TOMA: The Art Pub Quiz

TOMA invite you to form a team and take part to test your knowledge and forge discussions about alternative ways to educate yourself outside of the institutional system in 2017.


Critiquing the Crit
A Workshop with Sophie Barr

Saturday, 19 November 2016, 1pm – 4pm
The Field 385 Queens Road, London SE14 5HD
Rail/Overground: New Cross Gate, Queens Road Peckham 

This three-hour workshop is designed to help you to get the most out of your group critique by taking ownership of your feedback. During the workshop you will consider the most important aspects of giving and receiving feedback/criticism and you will have the opportunity to design and test your own crit model for future use.

Josef Albers Preliminary class group critique. Bauhaus Dessau, 1928-29. Photo by Otto Umbehr.
Josef Albers Preliminary class group critique. Bauhaus Dessau, 1928-29. Photo by Otto Umbehr.

The aim of the workshop is to get us to think critically about how we give and receive feedback as well as creating a culture where it’s okay to try things out. What is a crit for? How do you feel when you receive feedback? We will start by sharing our experiences of giving and receiving feedback in the past. How comfortable have you felt sharing your thoughts with your peer group? How have your peers reacted to your comments? What do you think the role of the peer is in the crit? With these ideas in mind, we will devise our own crit models and test them in groups of 4-5 people. Please bring along a work in progress to participate in these micro-crits. We will wrap up by sharing our feedback and proposals for how we would like to conduct our crits in the future.

Sophie Barr is an artist and Lecturer in Cultural and Contextual Studies with a growing interest in alternative modes of art education. She is currently studying for a Doctorate in Fine Art at the University of East London and makes art in Wood Green, north London. You can find out more about Sophie and see some of her latest projects in her blog Intellectual Simulation.

STUDIO CRITIQUE

Johanna Kwiat: Tampering

Saturday, 3 December 2016, 14:00–16:00
Studio, 19 Farquhar Road, London SE19 1SS
Rail/Overground: Crystal Palace, Gipsy Hill

In December we’re heading to Crystal Palace to view and discuss the work of Johanna Kwiat. After graduating from Anthropology at Goldsmiths College, Johanna studied Fine Art at Working Men’s College in London. She is based in London and currently works from ASC studios. Johanna is a co-founder partner of Art Brixton.

Johanna Kwiat [2011] Artemisia at IKEA. Photographic print (still from a mobile phone film), 32 x 24 cm.
Johanna Kwiat [2011] Artemisia at IKEA. Photographic print (still from a mobile phone film), 32 x 24 cm.

Most of my practice happens outside of the studio and/or gallery context. My practice is rooted in my everyday life. My work is a material or intellectual explosion culminating a long process of analyses or annoyingly circular thoughts, images and tensions. I work with mixed media, often with what I find available, and select that which is relevant to communicate my ideas. I have been preoccupied with themes of cultural myths of identity, gender and the autonomy of reason, as well as the nature of reality we live in and the possibility of circumventing its constraints. I think a lot about alienation (self and structurally imposed) and especially the persistent and seemingly universal need of private ownership, its relation with everyday violence, specifically the unseen, hidden or unspoken. I am interested in violence as an inherent quality of relationships. And yet my work is most of all an intimate history. I rework my story, parts of which I find echoed in others’ histories: imposed gender, gender roles, sexuality and forms of representation. I look at relationships between people, natural forms, signs of social aspiration and financial standing. I tamper with them. Acting out in social, public space is what interests me, and describes the way I work. I steal estate agents’ signs from real life locations. I invade an environment, space or context and question its familiar set-up.

Johanna Kwiat [2014] OutGrown (detail). Installation, reclaimed estate agents' signs, acrylic paint.
Johanna Kwiat [2014] OutGrown (detail). Installation, reclaimed estate agents’ signs, acrylic paint.
Johanna Kwiat [2016] Sanity – Work In Progress. Performance Crystal Palace – Pimlico, two weeks and two days.
Johanna Kwiat [2016] Sanity – Work In Progress. Performance Crystal Palace – Pimlico, two weeks and two days.
Johanna Kwiat [2016] Untitled. Digital image.
Johanna Kwiat [2016] Untitled. Digital image.

An opportunity for artists, curators, designers, film-makers and other producers to present their work to an audience of peers for discussion and feedback.

This event is free and open to everyone. Please book your place. If you’d like to show your work please scroll down for more information and the event archive.

Showing your work

STUDIOCRITS typically focus on the work of one artist at their studio or other appropriate venue. There is no standard format however, because everyone’s practice is different.

If you’re interested in showing your work at a STUDIOCRIT please download the infosheet and follow the directions to send us your proposal.

VENUE The venue will most likely be your studio. If you don’t have a studio don’t worry, we can find an alternative. You might have an exhibition on, you might show your work in your flat, community space or temporarily available space. The space needs to be appropriate for the display of your work with a capacity for about 10 people.

DATE & TIME We will set a date and time that is most convenient for you and your venue. Weekends and weekday evenings are convenient times for most people. The crit normally lasts two hours with a break in the middle. Please consider providing snacks and refreshments.

STRUCTURE Think about what work you would like to show and how you would like to structure and conduct the crit. We will discuss this and identify or develop a format that is suited to your work. Think about the practical or theoretical questions that you would like to raise, what aspects of your practice would you like to draw attention to and discuss?

DOCUMENTATION Please prepare a short bio and up to 6 images of your work for the website. This is to give potential audience members an idea of what your work, practice and/or research is about, attracting an audience with common interests. We will work together to present your work in the best possible way.

BIO Please prepare a short bio no longer than 250 words. This should outline your practice, background, education and what you are interested in exploring in the STUDIOCRIT, highlighting the topics and themes that you would like to address in the discussion.

IMAGES Choose up to 6 images that best represent the questions that you would like to raise about your practice. The maximum resolution for images is 923 pixels on the longest side, if in doubt and for the best results please send hi-res images. Please send captions with your images and include the title, date, materials and dimensions/duration for each one.

STATEMENT You might want to discuss an artist statement or application/proposal in conjunction with your work. Your statement should be no longer than 500 words, please print 15 copies and bring them along.

ARCHIVE
#01 Maria Christoforatou: Displacement▾

Sunday, 20 March 2016, 2:00pm – 4:00pm
The Field, 385 Queens Road, London SE14 5HD
Rail/Overground: New Cross Gate, Queens Road Peckham

Maria Christoforatou [2011] Untitled (small house). Balsa wood and china porcelain, 18 x 18 x 18cm.
Maria Christoforatou [2011] Untitled (small house). Balsa wood and china porcelain, 18 x 18 x 18cm.

Maria Christoforatou lives and works in London. Her practice is concerned with the unnerving relation between belonging and unbelonging examined through the notion of one’s home. Maria received her BA (Hons.) in Fine Art from the Athens School of Fine Arts (ASFA) in Greece and her MA in Painting/Fine Art from Wimbledon College of Arts, University of the Arts London. She recently graduated from Chelsea College of Arts, University of the Arts London with an MPhil in Fine Art Practice-based research. Her research focuses on narratives of home and displacement in contemporary art practice. She investigates experiences of displacement through the idea of home, where ‘home’ is identified, mediated and ‘re-made’ through media and materials of different kinds, and how objects both mediate for the artist and become agents of experience for the viewer.

Maria Christoforatou [2015] Constructing spaces series. OHP projector installation.
Maria Christoforatou [2015] Constructing spaces series. OHP projector installation.
Maria Christoforatou [2015-ongoing] Dislocated series. Collage on paper, 21 x 14.8cm.
Maria Christoforatou [2015-ongoing] Dislocated series. Collage on paper, 21 x 14.8cm.
#02 Jo Wolf: DATA▾

Saturday, 9 July 2016, 2:00pm – 4:00pm
The Field, 385 Queens Road, London SE14 5HD
Rail/Overground: New Cross Gate, Queens Road Peckham

Based in London, Jo Wolf works conceptually with mixed media. Although her pieces result from an act of inquiry, the consequent material form is equally relevant to the idea. Coming from a DIY culture and maker’s background, Jo studied at Camberwell College then Central Saint Martin’s and after graduating in 2005, has maintained a pre-emerging position of artistic obscurity. From 2008 she took an interest in the cause alongside the impact of the economic crisis and responded by creating a limited collection of 3D design and 2D depictions of mass circulated imagery. Her recent series sees a return to abstract compositions.

DATA: a series of observations, measurements or facts. From Latin: dare to give.

The DATA series consists of two sets of eight canvases, entitled DATA.0 and DATA.1, which were inspired by a reading of ‘The Death of the Author’. Written in 1967, the French literary critic and theorist Roland Barthes proclaimed, ‘a text’s unity lies not in its origin but in its destination’, and that ‘It is language which speaks, not the author’. He states that ‘a text is … drawn from many cultures and entering into mutual relations of dialogue, parody, contestation, but there is one place where this multiplicity is focused and that place is the reader…’

Bathes offers a theory that informs our understanding of this realm of reading and interpretation. Applicable not only to the written text however, which is open to translation and elucidation, it is also considered in the reception of a work of art. Yet the visual text or artwork often conveys information through media with the omission of written language. Our understanding of art is affected by what we know and believe, a perception based on learned assumptions regarding taste, truth, beauty, status, experience, etc. The authority of a work of art and its meaning alters according to the context in which it appears and although artists may give a rationalized explanation of their work, the gap between words and what we see may not be completely settled.

In the art world, critics hold the strongest platform from which to deliver their views of the artwork, beyond the artist, yet their opinions often expand or contradict the original said intentions. This process of presentation and judgment begins in art school, in the critique. DATA tells an abstract tale of one experience of this process, it also raises questions about the role of the crit and the significance of the rhetoric.

DATA.0: Eight relatively small square paintings consisting of the basic elements of painting, in an aesthetically purified abstract form, question the conceptual relationship between the object/canvas, text/title and meaning.

DATA.1: Constructed from silks of unrestricted colours, the larger canvases mirror the geometric compositions of the first series and although removed from the realm of painting, pose the same questions.

#03 Dasha Loyko: Autonomy and Critique▾

Saturday, 15 October 2016, 3:00pm – 5:00pm
The Field, 385 Queens Road, London SE14 5HD
Rail/Overground: New Cross Gate, Queens Road Peckham

I am a London-based artist who is currently in the process of applying to MFA programmes. I was born in 1995 in Minsk, Belarus, and moved to the UK in 2009, at the age of 14. I am now in my third year of BSc in Philosophy at LSE. I received some formal art training in Minsk but have since practised independently and in the recent years my work has taken a much more conceptual turn. My research has been fuelled by the study of philosophy, critical theory and I have recently become fascinated by the notion of the abject. I work across a wide range of media and my practice could roughly be divided into two categories: institutional critique and the art driven by my preoccupation with human autonomy.

Dasha Loyko [2016] Tips For Designing Your Dream Bathroom (maquette of central fragment).
Dasha Loyko [2016] Tips For Designing Your Dream Bathroom (maquette of central fragment).

1. Autonomy

Through painting, video, sculpture and installation, I explore the relationship between subject and object. My departure point is the notion of the border of your own body. I am interested in the construction of psychological and physical barriers and in distancing yourself from the rest of the world as a necessary part of identity formation. Personal space, privacy, autonomy and the sense of your body as having definite borders, as being discontinuous from everything else around you, are some of the concerns which underpin my practice.

Some of the materials I choose to use, such as gloves or shower curtains, have a literal meaning as barriers but I also want them to evoke tactile associations. In the everyday life these are some of the things which are connected with disgust at touching something unpleasant, toxic, sticky, or wet. I want this tactility and also the scale of my work to act as a connecting link between the piece and the viewer, so that she can relate to it and measure it up against her own body.

A few worries arise: Do the tactile associations function in the same way for the audience as they do for me? Does the medium of painting divert the attention away from the conceptual issues and towards the formalist ones?

Dasha Loyko [2016] Nude (Grey on Yellow). Oil on canvas, 100 x 110 cm.
Dasha Loyko [2016] Nude (Grey on Yellow). Oil on canvas, 100 x 110 cm.
Dasha Loyko [2016] Maman (video still). Immersive installation. Video, 3-10min independent loops.
Dasha Loyko [2016] Maman (video still). Immersive installation. Video, 3-10min independent loops.

2. Critique

In my critical work I address the following questions: What does it mean for a work of art to be a success or a failure? What does it mean for text to be ‘about’ an artwork? How and why is an artwork legitimised through discourse? I reflect on the process of research and the constant chase after innovation. I also wonder whether addressing these worries should necessarily be branded as critique.

Dasha Loyko [2016] IMG_001. Aliminium print, 101 x 101 cm.
Dasha Loyko [2016] IMG_001. Aliminium print, 101 x 101 cm.