Sustainable Prospects: Oral Presentation

My final oral presentation for Sustainable Prospects, 2019.  Watching this video I realize how much I am enjoying this new direction I'm taking.  Working with students is a passion of mine for some time now (my undergraduate is in education, and I taught in the public schools for several years).  Working with students can have many challenging aspects and can be somewhat draining both physically and emotionally, but the turn-around benefits are of a very fulfilling nature.

Presenting Our Pitch

This week was an exciting one, as after 9 weeks of collaboration and planning we were able to present our ideas to Headway East London. 

http://headwayeastlondon.org/

Bev and Nick were our representatives as Mike and I could not make the assigned time slot.  Bev was amazing at presenting and really exhibited our ideas well.  I know she was hesitant to be the presenter, and that was a bit of a challenge for her but she really did a great job representing each of us and our developed ideas as a group.  After watching the video of the presentations I feel our group had a clear grasp on the methodology of Headway and caught their atmosphere and ideals as well as their mission plan, mostly with the help of Nick and his observations at the actual Headway itself.   

Headway seemed to respond well and I am interested to see which direction they choose to go.  

Working collaboratively has its challenges and I presented quite a challenge to my own group just by living here in IDAHO.  The time difference presents a challenge in itself, as well as being located so far away from Headway.  But in the end I feel I was able to lend some to creative end of things and our group as a whole really came together with ideas and in completing the tasks as well.

Working collaboratively is difficult with any group of photographers, but when you take 4 photographers that specialize in completely different genres it increased in complexity.  Each member visualized things differently, leaning toward their own specialty of course, but in the end I think we were able to pull the vision together.  

Jon Von Hollenben and 24 Hours of Plastic

https://www.janvonholleben.com/project/dreams-flying/#5706

I have mentioned Jan Von Hollenben before as I love his work focusing on 'homo ludens' the man who learns from play (Astrum People ca. 2019) and his work in the imagination.

Play and the imagination are the current environment that the children I am working with reside in.  So it becomes very relatable to them.  We discussed how we could use their own environment, the environment of a child, to send their message to both kids and adults about plastic.

First they drew some images where plastic was encroaching into their daily life- much like it does for sea life and other animals in nature.

Every time we do an activity the kids are very anxious to actually get their hands on a camera and be The Photographer.  So Mrs. G and I rounded up enough cameras and SD cards and gave each student 1 day, 24 hours with the camera to document any and all pictures of plastic around them.  

It was a great activity, and eye opening for all of us to see how extensive plastic use is in our very own area, in every aspect of our day. The rules were simple- wherever you are, look around you.  

  

24 Hours of Plastic: 

The students collected hundreds of images.  We have several ideas about things we can do with the images but the first thing we did was use them to illustrate plastic in 'everyday life' such as was represented in their drawings.  

The students posed for silhouette images:

I then overlaid the students' images of plastic use, collage style to create the final images:

Fig. 1: Bren Slade 2019. The Bus Stop.

Fig. 2: Bren Slade 2019. Swimming Lessons.

Fig. 3: Bren Slade 2019. The Student. 

"...If you can't explain something in words, you can take a picture of it."  

- Isaac, age 10.  Mrs. G's class 2019.

ASTRUM PEOPLE. ca. 2019. 'Jan Von Hollenben: Conceptual, Illustrative Photography.'  Austrum People [online] Available at: https://astrumpeople.com/jan-von-holleben-conceptual-illustrative-photography/ [accessed November 2019].

Live Discussion with Anna-Maria Pfab Week 7

Notes from a live discussion with Anna-Maria Pfab, Falmouth University

Is photography distinct enough to earn the big bucks or is that market limited to fine art and the paintbrush? 

Discussion revolved around Len's quote:

This may be true if you hope for the big $$$$$ or if Gallery View is your only goal.  But I don't necessarily see the replicability of photography as a disadvantage.  My goal with my artwork isn't to be elite but it is to bring out a bit of light in the world.  To me, the more people that consume my art, the better.  There is so much angst in imagery throughout the world, and I feel our very souls are being affected- depression and anxiety are household words, often with dire results.   We all need a little more light and hope going around.  That said, I don't plan on doing limited edition prints, but possibly books would be a better outlet.  I also plan on continuing with the outlet of art for hospitals. 

How to price your prints:  This is something you should think about beforehand- you don't want to be approached and be unprepared with what to say. 

And again like any sustainable prospect NETWORKING is KEY!  Know the market, know the system and have realistic expectations.  Be prepared- any success in any field is typically A LOT OF WORK. 

Mandy Barker and Mrs. G's Class

Continuing with the students in Mrs. G's class we looked at the work of Mandy Barker.

Fig. 1: Barker. Every Snowflake is Different.

Mandy Barker is a globally recognized photographer for her work with marine plastic debris. Working with scientists she hopes to bring out awareness for plastic pollution in the oceans and its affect on the marine life and its surroundings, and in effect ourselves (Barker 2019).  Her work is intriguing and aesthetically pleasing.  With a unique and recognizable presentation. 

As a class we discussed the way photography can give you a voice- especially within your circle of influence.  Hundreds of miles from any ocean life- making art out of ocean plastic isn't practical or relatable to Mrs. G's students - or their most likely audience of fellow classmates and community members.

SO we talked about their circle of influence.   And plastic use in their own surroundings. 

Throughout the week students gathered plastic in locations common to their own environment: the park, the lunchroom, home, dance class, etc. 

Inspired by Mandy Barker they then, as a group, sorted by color schemes and cut pieces to begin their water based plastic creations- almost a flat plastic sculpture in water.  I photographed their creations taking direction from the kids- changing things a bit here and there as they evaluated the results.

Fig. 2

Fig. 3

Uploading their images I then worked with the school computer specialist to help each child edit the image to their likings.  

Fig. 4

Exploring mostly with levels and saturation they edited them quite a bit differently than I had imagined and though much different than a Barker piece, I found their images interesting and engaging.  BETTER than if I had instructed them restrictively.   Children have a natural sense of freedom and are less restricted by boundaries of the 'norm' that we as adults often place on ourselves.    Here are a few of the results:  

 Fig. 5

 Fig. 6

 Fig. 7

 Fig. 8

Fig. 9

It's amazing how much of the kids own person came through in their edits.    Again, my goal in introducing this eclectic variety of artists and photographers is to reach out to all the learning styles of the students, hopefully helping the them recognize their strengths and weakness, and explore what 'works' for them.

Figure 1. Mandy BARKER. 2019. Every Snowflake is Different. [Photography]. Available at: https://www.mandy-barker.com/work [Accessed November 2019]

Figures 2-4. Working with the students in Mrs. G's class.  

Figures 5-9. Final results of the plastic images, taken by Bren Slade edited by the students.  

BARKER Mandy. 2019. About. [online] Available at https://www.mandy-barker.com/about. [accessed November 2019].  

Thoughts on Artificial Hells

Clair Bishop and thoughts on Artificial Hells.

 

Artificial Hells by Claire Bishop available here: https://www.amazon.com/Artificial-Hells-Participatory-Politics-Spectatorship/dp/1844676900/ref=sr_1_1?crid=2PIRSVQ074MVT&keywords=artificial+hells+claire+bishop&qid=1573150658&sprefix=artificial+hells+clair+%2Caps%2C751&sr=8-1

Clair Bishop in 'Artificial Hells' elaborates on the fact that artistic interest in collaborations and participatory projects have been on the rise since the early 1990's (2012:1). A utopian re-thinking of arts and relationship thereof as a collective voice.

"To grasp participatory art from images alone is almost impossible," (Bishop 2012:5) Images are just "fragmentary evidence" and nothing of the "affective dynamic" of what propels artists to do them or people to participate in them.


Todays participatory art strives to emphasize the process over the product and depends of the narration of first hand experience, which is subjective to the narrator.

For instance, as the "Teacher," I can tell you some the the areas the students navigated in creating our images such as:

Critical thinking in

What to show

How to actually create it

How to display/ lay it out it

How to make it fit

What angle to shoot

What colors to use

How to agree as a team (navigate group dynamics)

How to get it done by the deadline

How to gather the resources they need

How to view the final product

How to evaluate the experience

How to decide what to do different or the same the next time

But as a student, the process may have been more personal or the growth may have been in areas that I did not think to mention.

Both of us as participators may have a less objective view than an outsider, or even the classroom teacher who gets to observe the project but participates only in a supportive role.  However her commitment to her students and their success would still impose a bias in general.

If the project has two purposes, one for intrinsic growth of the participants and the second being the effect had on viewers, then the evaluation must be duel as well, and may not fall on a specific grid of numbered success, and contain a looser time scale as Bishop explains that some projects have more significance in the future days then the time that they are created (2012:7).

This may be demonstrated in that instead of this project containing 10 year olds producing valued pieces of society-moving art, but a seed being planted about choices and exhibition of voice that may grow into the fruit of something larger per the individual.

A 'switch' on a railroad track setting a new path to something unknown at this point.

 Because there is a balance between what the project produces and the process, I hope to have a meaningful output, something valuable within its circle of influence, even if it be a limited one. There must remain this balance between the process and the output. Participatory art walks a fine line facing both the social sphere and then again toward its own self.   

On Authorship;
Roland Barthes reminds us in 1968 that any authorship is indebted to many others (Barthes in Bishop 2012:9)

Thanks to total saturation in today's image market our senses may be dulled by spectacle and repetition and French writer and film maker Guy Debord, encouraged 'action' or interaction as the solution to 're-humanize' the art experience (Bishop 2012).

Participatory art is less about visual commodities and more about social change (Bishop 2012:13) and authorship becomes collaborative.

Participation should be more than just a buzzword.
And the term ART can be used lightly, leaning more toward the end product than something judged in the same category as a Picasso.

Oda Projesi used art to create relationships between people (Lind in Bishop 2012).
There is an ethical criteria that boosts the critique of collaborative art.  Its meaning is in its story, which is perceived to go deeper than surface of a single author art piece.

Bishop focuses on two contemporary tendencies in participatory art: delegated performance and petagogic projects (Krivickas, J.H,).  Mine falls into the latter.  Helping students "forge a closer connection between art and life," (Bishop 2012: 241).

Thomas Hirschhorn, the Paris based sculptor known best for his large scale social projects typically formed with residents near their making,  defines the real 'participation' in art as thinking! (Hirschhorn in Bishop 2012:260)

BISHOP, Claire. 2012. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso.

KRIVICKAS, J. H. Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. Library Journal, [s. l.], n. 13, p. 91, 2012. Disponível em: <https://search-ebscohost-com.byui.idm.oclc.org/login.aspx?direct=true&db=edsglr&AN=edsgcl.299258479&site=eds-live>. Acesso em: 7 nov. 2019.

Tips from Amy Simmons

Stock curtsey of Envato

Week 7 Falmouth Presentation with Amy Simmons, a London-based integrative producer often commissions people by looking at their personal work- not their commercial.

This rings true as I have been approached for commercial commissions thanks to the viewing of my personal work. 

One thing I took away from Amy's vast array of experience is how much collaboration can be involved.  Art directors, clients, curators, producers, etc.  Knowing your role and your end of the business is key in everything coming together smoothly.

Helpful acronyms or business vocabulary:

OOH- Out of Home- 6 sheets, 48 sheets (billboard), printed for out doors
DOOH- Digital Out of Home- Escalated panels, screen posters- sometimes animated
DM- Direct Marketing- flyers through your door, etc.  
Internal Com- using in their own agency
Press- Newspaper or magazine ads
POS- Point of Sale
Online media- on a website, sometimes includes social.


Facebook- landscape
Instagram-square
SnapChat- portrait

Make sure you know when you can show the work on your own portfolio- what is the 'live' date?


TIPS to be remembered:
Get the list of agencies and make sure you have the correct contact!  You can call the reception desk to ask if your not sure.

Send emails with embedded images.  So they can see it at a glance.

Send printed content- post cards etc.

Arrange a portfolio viewing- they will remember you more if they meet you in person.

NETWORK! NETWORK! NETWORK!

Go to private views, attend events, meet, chat, send a website link the next day.  Take part in agency charity exhibitions, or charity art shows.  Get involved.

Then return phone calls and emails promptly.  You may loose out on opportunities.

Portfolio tips:
Make sure it is printed high quality and is professional looking.
Clean of fingerprints etc.  Plastic sleeves are ok.
Keep it well edited and keep the week projects out.  Smaller and Stronger is better than more.  Get assistance if needed.
Don't take an ipad- unless you have good reason.  Screens are less effective and less desirable.  Possibly ok for animations where screens are needed.
Let THEM look through at their own rate, hand it to them and let them ask questions etc. But feel free to explain and give context to your work. Share your stories.

Always have a business card or postcard to leave behind.
No an agency's clients and ask questions.
BE YOURSELF!