Course Description

This course is meant to be a space for you to examine and deepen your relationship to the field and your own practice through readings, discussions, and presentations.  The readings are meant to expand your perspective on the field of jewelry and metalsmithing, to define its particularities and concerns in relation to the discourses of the contemporary art world.

Together we will explore a series of seminal theoretical texts, seeking ways to relate them to our own practice.  Through these texts we will encounter a series of themes and historical perspectives that are crucial to the field of jewelry, while also delving into fields and areas of inquiry, that have not commonly been related to our field, but perhaps should or could be.  Our aim is to get a historical and interdisciplinary perspective on where we are as artists/makers today, how we got here and where we could go from here. The course aims to bring up critical questions on why we make, whom we make for and the meaning of our practice beyond the studio and the jewelry and metals world.

This is a chance to practice your skills in connecting theory, reading and writing to your work and to build a vocabulary and ground of reference around your ideas, interests and intentions. It’s a chance to take part in an intense discourse around your field, which you might be asked to do many times in the future of your career.

The Wednesday meetings will adopt the form of a reading/talking circle. Your role in the group is important and the success of our conversations will be based on your participation and engagement. We will all take turns in presenting and leading the discussion and also examine what “research through practice” might mean for us, by exploring some ways of connecting theory and making. 

Oct 27, 2009

Daniel Buren






Daniel Buren is a French painter and conceptual artist. He graduated from the Ecole Nationale Supérieure des Métiers d’Art, Paris, in 1960. After 1966 he developed an aesthetic form that rejected all formal exploration and gave importance solely to the positioning of the work of art. In particular he devised the formula of alternating white and coloured vertical stripes. This became his exclusive mark, at first as a member of the BMPT group with Olivier Mosset (b 1944), Parmentier and Niele Toroni (b 1937). He painted his stripes on a whole range of different supports in various inappropriate settings. After abandoning the idea of painting as object he proposed a critical analysis of painting that would henceforth be like wallpaper pasted up in the streets of Paris, rather like the huge canvas stretched across the middle of the Guggenheim Museum in New York (1971). In his many installations in galleries and museums as well as in the open or in the city, he responded to the surrounding space or the context of an exhibition with great acuity. His work often has a decorative quality, as can be seen in his controversial creation in the courtyard of the Palais Royal in Paris, The Two Plateaux (1985–6).
http://www.artnet.com/library/01/0123/T012348.asp



Here is a link to the Daniel Buren website (english translation)
Posted by

No comments:

Post a Comment

Subscribe to: Post Comments (Atom)