These two projects form the last major tasks of the second year, before our third year of studio Art Practice, or in some cases for younger students, their placement year in a professional environment. This work therefore becomes the 'positioning exercise' to make my own work style for the rest of the following year.
The concepts of adaptation, interpretation and appropriation become a guided or negotiated project together with a range of works for submission as part of the body of work that will be judged against our degree. This body of work, or range, can be somewhat problematic if the range is too wide or too narrow. The key is to make it achievable. The first strand will last about six weeks. The second strand, an external project, is an opportunity to work in a national or even international environment. This allows degree students to work in a much bigger concept and notion of professionalism. Ideally, it may be possible to create some mutually connected projects in both the strands, i.e. both internal and external, each having a parallel set of works that are loosely joined. Alternatively the two strands can be split into two completely separate threads.
The research phase during the initial period is vital. We can then incorporate ideas, constructs and outcomes into tthe works, if the research continues through the project it will continue to feed the creative energy of the artist.
A good module portfolio should cover ideas, continued constructs and finished works, so that there is a variety of outcomes, not just one finished piece. The project brief provided by the year tutor maps out in general terms, the overlapping or parallel running of projects. There will still be a midpoint review, as a formative assessment and whilst marks are given at this stage, it is the marks at the end of the term which are the important ones.
My blog should be used to critically and analytically comment on the progress. In other words, what relationship does my work have to other contemporary artists? The blog shouldn't be a story about what I've done, but a critical engagement of decisions made, and for what reasons, or why?
I need to build my resources around me not just in my sketchbook. In my studio area, there is an environment that allows me to share as well as creating ideas with my peers. I need to utilise the space as much as I can over the following 10 to 12 weeks.
My initial basic research into the meanings of the words of the definitions are as follows.
1) Adaptation. (See the work of artist Gordon Matta Clark).
A good reference is at the Googenhiem Museum, http://www.guggenheim.org/new-york/collections/collection-online/artists/bios/874 retrieved 10/02/2015
Synonyms for adaptation could be "intersection, the and reconstruct, alter, the act or process of changing something, modification to fit the new situation.
2) Interpretation. (See the work of Louise Bourgeois).
http://www.tate.org.uk/art/artists/louise-bourgeois-2351 retrieved 10/02/2015
Elucidation, to gain understanding, but this can also be a change in style, an explanation.
3) Appropriation. (See the Tate Gallery glossary).
Deliberate adoption of another artists work, using pre-existing objects. "To take possession" the re-contextualising of an object, so that the viewer may recognise, but not recognise, things that mirror everyday life. (See the work of Barbara Kruger).
https://www.artsy.net/artist/barbara-kruger retrieved 10/02/2015
Other artists at work in this John Rutter are Robert Wyman, Jacques Derreda, Claude Levi Strauss,-particularly in anthropology and structures, and also Roland Barth's writings, such as his quote, "we all read things differently based on our own experiences. We have our own discourses on our own living".
Some further reading to look at Adrian Poole, who has created an extensive list of appropriations, together with the work of Judy Sanders who combines adaptation with appropriation.
Ref; Professor Adrian Pool, http://www.english.cam.ac.uk/people/Adrian.Poole/ retrieved 10/02/2015
Judie Sanders; https://english.nd.edu/assets/37354/sanders_adaptation.pdf An introduction, - retrieved 10/02/2015
and http://www.nottingham.ac.uk/english/people/julie.sanders retrieved 10/02/2015 for bio.
Bibliography;
The Solomon R. Guggenhiem Collection. (2015). Gordon Matta-Clark b. 1943, New York; d. 1978, New York. Retrieved from http://www.guggenheim.org/new-york/collections/collection-online/artists/bios/874.
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