• Copyright
• Career Practice
• Prompts will be shared so people can produce artifacts
• Art Making
• How to spread

Artists do not exist in a vacuum. Humans are at their best when they are part of a community. Collective knowledge is greater than our individual knowledge, and therefore, we should share and join a community.

• Expand your community
• Build connections
• Exchange

Artists learn by doing. The final project:

• Statement of Practice
• Practice plan → goal
• It will be presented to the group in the end

What is Art?

Comments made by the participants:

• It is about doing something.
• It is about an emotional reaction.
• Intentionality as you make it: playfulness and intuitiveness.
• Comprehend human experience. Dialoging. Different kinds of knowledge.
• Expression.
• A way of communicating.

Technology of Art

A picture of a rock, is it art?

The moment it is added to a picture frame, it invites the viewer to think of it as art.

Just the picture of it (no frame), the questions are not the same as when they are in a frame. Paradox of truths.

The Treachery of Images, 1929, René Magritte

→ It is a pipe.

→ It is a picture of a pipe.

Before photography, art was about making a picture, but photography ruled it out. Despite doing picture making, we are more focused on experience making.

Fountain, 1917, Marcel Duchamp

Look beyond the object; what is the experience?

My Bed, 1998, Tracey Emin

It is just a bed with stuff until we experience it.

Art goes beyond the edges of the frame. It is about the experience of making it.

Currently, we can experience art through a proxy, like immersive Van Gogh.

Art as an experience, anything can be art.

What is Art?

Urban Institute: 96% value art, but only 27% value artists.

Professional Artist (Canada Council of Art)

• Specialized training in an artistic field not necessary from an institute.
• Recognized as a professional by their peers (artists working in the same tradition).
• Committed to devoting more time to artistic activity.
• History of public presentation or publication.
  • Anyone can make art, but the professional is the one to expose it and invite people to experience.

Artist Practice

Material

• What does the artist make?
• How do they make it?
• What materials do they use?
• What is their physical process?
  • Rip, cut.
• What is the workspace?

Conceptual

• Why does the artist make what they do?
• What artist ideas inform their choices?
• What art history informs their work?
• What is their intellectual or emotional process?

Experience

• How does the artist put their work out into the world?
• Who do they make art for?
  • If it is for yourself, why are you showing it?
• How do they engage with professionals?
• What is their environment?
  • What you have access to will influence your art.

Professionalism

• Organize the practice to have a deeper comprehension.
• Material + Conceptual + Experience.

Model of Art Practice

Play and Research

• Experimentation
• Research: inquiry with intention other than just looking at it.

Process

• Every artist has a unique process.
• How do you make what you make?
• You can have multiple processes.
• Different outcomes intend to guide the process: digital x analog x series x installation.
• Sometimes, other people are better to see the process due to our proximity.

Making

• It is constrained by many things: resources, environment.

Finishing

• Framing, no framing.
• Documentation, inventory.
• Title.

Diffusion

• How the work goes out into the world?
• The goal you have will inform what you will make.
  • Museum x artsy requires different pieces.

Impact & Engagement

• How do you engage people?
  • Sell, change the world, provoke conversation, shame people.
• What impact do you want to have?
• Find allies and partners.

Be aware of what needs to be done and work on it.

Approach the practice with intention, how to organize, how to diffuse.

Collage Ancestors

MODULE: Connecting with our Artistic Ancestors

Find an example of a collage by an artist in a museum collection artist that dates to before 1990. The collage should speak to an element of your practice: a similar visual tradition, similar subject material, a shared aesthetic kinship, or some other connection. Post the collage to the arthistory channel in Slack along with your own collage it is in dialog with. Share your thoughts about the connection.

Module - Ancestors

Work presented by Ric:

Globe with Stamps, 1965, Jiří Kolář
Collection of Museum Kampa, The Jan and Meda Mladek Collection, Prague.