Additional Content
This section documents general notes on talks, lectures, books and more, in no particular order.
Steffi Klenz, UAL artist talk, 2 Oct'24
Notes
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Reflection
What struck me about Steffi Klenz's insights was her emphasis on the audience for art and the benefits it brings to local communities; who is your art for? She pointed out that in the residential building she had a project on, over 90% of the residents had never set foot in a museum or gallery. This raises an important question: how can artists create contemporary art that is truly accessible?
I’ve been reflecting on my own role in this context. Many of my friends without an art background often feel disconnected from exhibitions, believing they wouldn’t understand them even if they attended. Moving forward, I plan to incorporate more storytelling elements and multilingual content to make my work accessible to everyone, regardless of their art knowledge. Additionally, including fun facts about the artists could make future shows more interactive and foster a sense of belonging among attendees.
I find myself thinking about Lee Mingwei "Letter Writing Project" a lot; its focus on social engagement is something I aspire to integrate into my own exhibitions.
Juliet Hayson on proposals, UAL professional toolkit talk,
16 Oct'24
Notes
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Reflection
I have always found professional toolkit talks particularly useful, especially Hayson’s recent presentation. This session focused on commission and residency proposals, where she emphasized the importance of selecting a few high-quality opportunities and fully committing to them. Previously, I approached applications by applying to as many as possible, but Hayson’s perspective resonated with me; she pointed out that good opportunities often come with stiff competition, so it’s crucial not to waste time on half-hearted efforts.
Although this advice may seem like common sense, it was a revelation for me. She also suggested visiting galleries or exhibition spaces in advance and using editing software to visualize how my work would fit within those environments during the proposal process. Additionally, she highlighted the significance of visual representation, noting that the quality of the proposal is often all that decision-makers see if they haven't encountered the work before. Considering a 360-degree showcase of my work could enhance its appeal.
Hayson stressed the importance of investing time and resources into creating high-quality mock-ups, whether through detailed drawings or 3D models. Ian Monroe had mentioned this point in his talk as well. Finally, being exceptionally clear about my project's goals is essential—a concept reinforced by a book I read this year titled "How to Write About Contemporary Art."
Lewis Rivers on Income, UAL professional toolkit talk,
23 Oct'24
Notes
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Reflection
Rivers' talk provided valuable insights into sustaining an art career through multiple income streams. He emphasized that artists need not limit themselves to a single path, encouraging a diversified approach that includes freelancing, teaching, and exhibiting. His "everything everywhere all at once" method underscores the potential of leveraging various methods simultaneously.
Regarding social media presence, Rivers stressed the importance of balancing professionalism with authenticity. He advised prioritizing genuine self-expression over catering to perceived audience preferences, highlighting that authenticity should be the foundation of one's online persona.
Using David Shrigley as an example, Rivers illustrated how artists can expand their reach and support base by offering a range of affordable products like greeting cards and prints. This strategy allows fans to engage with an artist's work without the high cost of original pieces.
Rivers also emphasized the value of employment within the art community, such as teaching roles. These positions not only provide income but also offer networking opportunities and keep artists connected to the industry. He suggested various roles including curation, product design, and consulting as potential avenues. Lastly, Rivers provided practical advice on pricing artwork, offering a tangible formula.
King's College Art Business Panel : Early Career
25 Oct'24
Notes
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Reflection
Last year, I discovered that I could attend talks at the London School of Economics (LSE), which led me to follow various universities' art business societies on social media. I found out about this panel discussion hosted by King’s College Art Business Society, featuring alumni now in the creative industry, including Gloria Tepie (data analyst at Universal Music Group), Yagmur Cekic (gallery intern at Miart gallery), Anvi Sannathi (marketing intern at Disney), and Ieuan Walker (sales executive at Paramount Pictures). I was particularly interested in this talk because of the presence of a gallery intern.
The panelists shared valuable insights on professional development, emphasizing the importance of thorough research and preparation for interviews to stand out. They advised new hires to initially mirror their colleagues’ vibes to settle in and then maintain professionalism to distinguish themselves over time.
Networking strategies included attending events with clear intentions and actively listening to others’ stories, while they cautioned against using AI-generated content for CVs, recommending a comparison approach to ensure authenticity.
Finally, they encouraged viewing peers as allies rather than competitors, highlighting the value of collaboration in the creative industry.
Cathy Lomax, UAL artist talk, 26 Sep'24
Notes
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Reflection
My key takeaway from Cathy Lomax's talk was the importance of maintaining a list of keywords for one's art practice, which can serve as a valuable resource during creative blocks. Lomax emphasized that research is crucial for developing a compelling artist narrative, often achieved through extensive reading.
I recently visited Jon Archdeacon's exhibition at Blyth Gallery, Imperial College, where the curator displayed books related to the exhibition's theme, effectively visualizing the curatorial thought process.
Lomax also stressed the significance of collaboration in the art world. She highlighted the importance of identifying potential collaborators and maintaining close relationships with them.
The concept of visual storytelling in Lomax's work, particularly her "film diaries," demonstrates how artists can translate their passion for other media (in this case, cinema) into their own artistic practice.
Semillero discussion, featuring Ernesto Madriñán, 24 Sep'24
Notes
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Reflection
During our recent Semillero session, we explored the challenge of making artwork engaging without the artist's presence. This question resonates deeply with me, as I view art as visual storytelling. However, I've noticed the significant impact of guided tours in both exhibitions I've attended and my own shows. At Frieze, for instance, the contextual information provided during talks enhanced my understanding and perception of the artworks. Similarly, for my recent exhibition "State of Being," I made an effort to be present and offer tours, receiving feedback that this approach greatly improved visitors' comprehension of the work.
Recognizing that constant presence isn't sustainable, I'm considering alternative methods to enhance the storytelling aspect of my exhibitions. These include incorporating multiple sensory experiences, providing concise, multilingual text, and using short videos. My goal is to make my exhibitions accessible and understandable to a wide audience, including young children.
This week's Semillero featured my coursemate Ernesto, who shared insights from his recent informal residency in Georgia. His experiences with language barriers and mild discrimination due to his Colombian background taught him valuable lessons about accepting and navigating cultural stereotypes. Ernesto's approach to uncomfortable situations, such as participating in a challenging ritual, was particularly striking. He emphasized the importance of being present in the moment and reflecting later, which I found to be a useful perspective. Lastly, Ernesto's adoption of local customs, like providing ample food for guests during his private view, demonstrated a thoughtful integration of cultural practices into his artistic experience, which I hope to integrate in my future international exhibition, if possible.
LSE Philosophy, on Taylor Swift, 28 Oct'24
Notes
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Reflection
I was intrigued by this talk exploring how Taylor Swift incorporates philosophy into her work and communicates it to her audience. The panel, featuring Eline Kuipers, Dr. King-Ho Leung, Dr. Georgie Mills, and Dr. Catherine M. Robb, drew a full house, indicating the topic's popularity.
Key insights included Swift's ability to connect her emotional reality with her audience's personal experiences. Her use of "easter eggs" for fans to decipher serves as an engaging storytelling technique.
The discussion highlighted how philosophy can be a means of examining one's life, with Swift transforming personal struggles into art as a way of reclaiming her narrative and maintaining authenticity. This approach frames philosophy as a lived practice rather than just theory.
Swift's storytelling method, which involves weaving her experiences into folklore-like narratives and encouraging fans to do the same, resonates with the idea of art as a catalyst for creativity. This perspective shifted my understanding of art genres, realizing that different forms serve various emotional needs - from providing comfort during difficult times to inspiring joy.
The talk also reinforced Alain de Botton's concept of art as therapy, emphasizing its emotional role. This insight has inspired me to infuse my own work with similar emotional depth and relatability.
Lastly, the discussion prompted me to reflect on art accessibility. While music is readily available through various media, even when one is commuting. I'm now considering how to make visual art more accessible beyond traditional gallery spaces, allowing for broader and more frequent engagement with audiences.
Book: How To Write About Contemporary Art
Notes
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Reflection
"How to Write About Contemporary Art" is invaluable for me, particularly when crafting my artist statement and critical reflection. The book emphasizes the importance of providing concrete facts and visual evidence when describing artwork, challenging the writer to convey the piece's essence to someone who cannot see it.
A key takeaway is the need for specificity in descriptions. If your description could apply to multiple artworks, it's too vague. The author advises against using generic terms like "thought-provoking" without elaboration, instead encouraging detailed explanations of what exactly stimulates thought.
When faced with writer's block, the book suggests storytelling as an effective approach, which I applied to my artist statement. Another practical tip is to keep the artwork in view while writing, ensuring accuracy and depth in the description.
Book: Art As Therapy
Notes
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Reflection
Alain de Botton's book "Art as Therapy" offered a truly eye-opening perspective on the role of art in our lives. His insights are further explored in the 'meditative calm' section of my critical reflection.
De Botton's key argument is that art serves as a source of hope and a rebalancing agent for our psychological needs. He suggests that our art preferences often reflect what we lack or fear in our lives; "What does your favorite art compensate for?"
His approach to curation was particularly enlightening. De Botton proposes organizing art galleries based on emotional needs, such as anxiety or curiosity, rather than traditional chronological or stylistic arrangements.
De Botton's example of placing Leonardo da Vinci's works in a "curiosity room" highlights how art can inspire intellectual pursuit. Da Vinci's anatomical studies demonstrate the power of curiosity to drive understanding rather than relying on imagination.
Lastly, De Botton's view on idealized art as a form of flattery struck a chord. He argues that by reinforcing beauty, art can make the world "a little more so." This idea is exemplified by Monet's water lilies, which offered a counterpoint to the harshness of World War I. De Botton reassures us that appreciating prettiness in art should not be a source of embarrassment, but rather recognized for its psychological value.