Thanks for your thoughts Joanna
I hadn't previously thought of participation as a way that would bring the
audience inside the work in the way you describe.
I mean of course it does, but there are still multiple points of view. Of
course practice-led research provides a platform for the artists' intention
and reflexive, reflective practice. The audience has many other points of
view - the 'author' is 'dead' and particularly with art (more than design
and way more than science) ambiguity opens up the essential characteristic
of multiple readings.
Can we conflate ideas of co-production/co-creation with the audience? I
suppose I was speaking about the audience who experience the work without
having been involved in its production, and there is still frequently one.
I'm still one of those a lot of the time - when I pick up one of Hamish
Fulton's books for instance. Remember he says "the texts are facts for the
walker and fiction for everyone else" (you might want to say fictions
actually).
Thanks
Chris
Chris Fremantle
+44(0)7714203016
http://chris.fremantle.org
http://ecoartscotland.net
skype chris.fremantle
On 1 Jun 2016 09:29, "Malina, Roger" <rxm116130@utdallas.edu> wrote:
From: Joanna Griffin <jomagriff@gmail.com>
Dear all,
To add to the comments of Liliane Lijn and Chris Fremantle, I yearn for the
intellect of Rosalind Krauss and Leo Steinberg to help contextualise what
the activity of artists encountering science as laboratory, as scientist,
as activity, history, dress-sense, soundscapes, cultures, etc.... tells us
about more elusive shifts. What is made more visible? The articles by
Krauss that I now read on microfiche from the 70s and 80s point to how
artistic practices make visible more elusive shifts in conditions in the
world in which we live. It is perhaps that refocus provided by artworks as
catalysts that is missing in commentaries
In thinking (nostalgically) about the absence and role of the art critic,
in 2002 the UK-based curator Claire Doherty wrote very perceptively about
my work and it was incredibly useful for my own professional development,
but in a sense it also modelled interpretation and the intellectual depth
to which artists pitch when making work. I wonder if other artists embarked
on PhDs, like myself, to do the job of articulating context, articulating
the "frame of reference for understanding" that Chris Fremantle mentions is
so valuable, specifically because of the absence otherwise of adequate
written reflection. In particular an absence in the face of the practices
considered in this list, and the need to think carefully about the shifts
that artists have made (not to mention anthropologists) towards the
critical interpretation of aspects of science and technology.
It seems a luxury now to have another person take the time to do such
critical appraisals that provide as Chris Fremantle has written "the way
the artist hears back." At the same time writing by artists takes new
turns. But its also relevant to think about how artists with curators and
art agencies have shifted audience inside their work, and the extent to
which this is a pattern for artists responding to and engaging with
science. I know this was something I did to provide access to an experience
and to bring 'audiences' with me on the journey, so shifting to a more
participative approach. That was one solution, anyhow, and the solutions
keep changing! In terms of this discussion though, I can link the loss of
the reflection of the art critic to a re-structuring of the mechanisms for
reflection by 'persons-formerly-known-as-audience' on and through creative
practice.
best wishes,
Joanna
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