Screen Print - Mark Making

Tutorial by: Mr. Dave Fortune (UWE print centre screen print department)
website: www.fortuneandassociates.co.uk

This is a very interesting screen print method as we can draw directly on the mark making film, a film with grain that enable it to go under exposure directly, and skip the "draw-scan-edit-print" session.

I'm better in Document Work perhaps?

UWE FA lvl2 Sem 1 Professional Practice 2 Feedback Form

UWE VC Lvl2 Introductory Lecture - Traversing a Postmodern Landscape

Traversing a Postmodern Landscape (there’s no going back)

Lecturer: Dr Sue Tate

Many commentators have observed a cultural shift occurring in the 20th century from Modernism (capital M) to ‘postmodernism’. This lecture attempts to map that journey and explore some key features of the postmodern terrain. Some argue that ‘postmodernism’ is already a thing of the past but this lecture will argue that there have been significant shifts in culture and the way ‘culture’ is understood, that indelibly mark the contemporary world and  provide the context for the strands that you will be studying this semester.

The first part of the lecture will identify some key aspects of Modernism and then plot the reaction to it in the emergence of ‘postmodernism’ as a practice and a concept. This shift is most clearly seen in architecture in the 1970s, but we will also look at Pop Art (sometime seen as the first postmodern movement), fashion, film, fine art and graphics

The term postmodernism is very fluid and contested but the lecture will attempt to identify key concepts, approaches and issues that shape the terrain and give context to both your practice and your lived experience. Through examples from all areas of visual culture, we will explore, among other things

• a postmodern lexicon: appropriation, parody, pastiche, intertextuality, eclecticism, irony, simulacra, hyper-reality
• issues of representation and identity (the de-centred subject).
• The collapse of hi/low cultural boundaries
• Media saturation, consumerism, a ‘society of signs’ and the knowing consumer
• The end of metanarratives – considering both problems and potential

Finally the lecture will signpost the ways in which the issues and concerns that have been raised inform and provide the context for the ‘strands’ that we are offering for your study this semester (Image & Identity, Taste and Values, Things, and The Creative Workplace).

Digitised readings:

STRINATI, (1995 ) ‘Postmodernism’ from An Introduction to Theories of Popular Culture  Routledge

WHEALE, NIGEL  (1995 ) ‘Postmodernism: from Elite to Mass Culture?’ in Nigel Wheale (ed) 1995 Postmodern arts: an introductory reader Routledge.

Suggested further reading:

BERTENS, Hans (1995)          The idea of the Postmodern : A History  Routledge

BROWN, Stephen (1995)         Postmodern Marketing  Routledge

See Chapter 3 ‘What have you got in there, King Kong’ p.64

BUTLER, Judith (1990)            Gender Trouble : Feminism and the Subversion of Identity. Routledge

CONNOR, Steven (1997)         Postmodernist Culture : An Introduction to Theories of the Contemporary  (second edition) Blackwell

FEATHERSTONE M (1991)     Consumer Culture & Postmodernism, Sage

HARAWAY, Donna J.(1991)     Simians, Cyborgs, and Women : The Reinvention of Nature  Free Association Books

HUYSSEN, Andreas (1990)      ‘Mapping the Postmodern’  in Feminism/Postmodernism
             Linda NICHOLSON ed.  Routledge 1990

                                   

JAMESON, Frederick (1991)    Postmodernism, or, the Cultural Logic of Late Capitalism Verso

JENCKS, Charles (1981)         The Language of Postmodern Architecture. Academy Editions

KLEIN, Naomi (2000)               No Logo  Flamingo

NAVA M. et al (eds) (1997)      Buy This Book : Studies in Advertising and Consumption  Routledge. see Part V ‘Readers as producers of meaning’ and Part VI ‘Consumption and Identity’

OWENS, Craig (1983)              ‘The Discourse of Others : Feminists and Postmodernism’ in Postmodern Culture ed Hal FOSTER      Pluto Press p.57

POLHEMUS, Ted (1994)         ‘The Supermarket of Style’ in Street Style  p. 130 Thames and  Hudson

POSTER, Mark (ed) (1988)      Jean Baudrillard : Selected Writings  Polity Press

VENTURI and

SCOTT-BROWN (1993)                       Learning from Las Vegas  MIT Press (revised edition)                                                  (original version 1972)

WILSON and ASH (1992)         ‘Fashion and the Postmodern Body’ in Chic Thrills, Pandora.
p.3

WHEALE, Nigel (1995)                        Postmodern Arts  Routledge

Very Good ???

UWE FA lvl2 Sem 1 Studio Practice Feedback Form

The Book of the Book 无字天书

THE BOOK OF THE BOOK

Idries Shah

 

Image can be enlarge

Reflective Statement

Original post: emptyeasel.com

It’s extremely important to be self-aware as an artist.

We should always be thinking about our processes, our decisions, our strengths and weaknesses, and our prejudices. Knowing these things will help you learn from your mistakes and use your strengths to their fullest advantage.

When you become aware of the things you’re doing intuitively, you will be able to create strategies for yourself to overcome challenges in your art practice. You will also able to overcome the things you do that might be holding you back artistically.

One great way to become more self-aware is by writing a reflective statement.

UWE PP Lvl2 Seminar - Artist Statement

Title: How to Write an Artist Statement
 Date: 1/11/2011

Lecturer: Monica Oeschler

Component B - Professional Practice Folder (60%):

Within the folder you are required to submit a series of tasks that could be used in the future of an application for exhibiting in a contemporary gallery. You need to include the following:

1. A well designed Artist CV that can be used for self promotion within Fine Arts Field. One side of A4
2. A formal artist statement used for applications and work opportunities that clearly identifies what you do as an artist and what your underlying ideas are for this practice. 500 Words.
3. Clear and informative documentation of your own practice. You need to choose either: -a Power-point compilation on CD of 10 still images of your work or - a short DVD show-reel only if you make time based work (such as animations, short films, website or performance). Maximum 5 minutes.

(The Difference between: Reflective Statement, Artist Statement and Proposal: Reflective Statement is kind of an awareness of your development, Artist Statement is a public statement that present to outside. Proposal is a document for you to communicate between you, the artist and the gallery on how to exhibit your work.)