An introduction to the unit and the key topic of process

1. KVB127 Visual Art Open Studio 2
Week 1: Unit Overview and Introduction

2. First Nations Acknowledgement
I acknowledge the Turrbal and Yugara, as the First
Nations owners of the unceded lands where QUT now
stands. I pay respect to their Elders, lores, customs
and creation spirits and the important role Aboriginal
and Torres Strait Islander people play within the QUT
community.
I recognise that these lands have always been places
of teaching, research and learning, and acknowledge
the Turrbal and Yugara peoples’ living culture,
knowledge and struggle in this region.
Dave Hullfish Bailey and Uncle Sam Watson, Maiwar
Performance 2009. Performance View, Brisbane River
(Maiwar)

3. Objectives:
 the development of your art practice
Understanding of studio experimentation through
PROCESS and EXPANSION – making and thinking
 the development of your visual literacy
Identify and discuss PROCESS in relation to
contemporary art and selected THEMES
 to get you working independently and
in groups
Ugo RONDINONE (Swiss b. 1963) achtzehnterjanuarzweitausendundnull, 2000
acrylic airbrush on canvas, silkscreen on plexiglass plaque, ø 270 cm

4. Structure:
Studio 1 (1hr)
Seminars (key themes), crits, and reviews (inc
Oral videos)
+
Studio 2 (2hr)
Activities (inc digital labs), reviews and
consultations
Blackboard
unit details, class schedule, assessment details,
handouts, lecture notes, faculty info and links
Tim Payungka TJAPANGARTI, Tingarri Story, 1975, synthetic polymer
paint on canvas, 190 x 170 cm. National Museum of Australia

5. Assessment:
1. Oral Presentation (40%)
3 mins + Notes/Written(600 words)
Weeks 5-10 (via video and Turnitin)
2. Folio/Blog/Rationale/Artist Review
(60%)
Folio (min. 11 works)
Rationale/Artist Review (1000 words)
Due 11:59pm Sun 24 October (Wk 13) via Turnitin
Folio Interviews: Mon 25 Oct – Wed 27 Oct
Tracey EMIN, We Have Lift Off, 1998 monoprint

6. Grading
1.Involvement
Have you completed all of the tasks? Are you challenging yourself
by exploring scale, quantity or complexity?
2.Creative Development
Have you explored a range of different materials and ways of
making art (and documented these on your blog)? Are you
showing that you have reflected on what ’works’ and what does
not?
3.Quality of Research and Reflection
Are you looking at good examples of contemporary and
reflecting on how PROCESS and the key THEMES play a role in
these works?
4.Clarity of communication
Have you observed correct academic format in your written
work? Spellchecked? Have you conveyed your ideas clearly?
Sean LANDERS, Le'Go My Ego, 2007, oil on linen, 198.1 x 243.8 cm

7. Themes
Ceal FLOYER (British b.1968), Press, 2014, Plexiglas and newsprint, 75 x 50 cm.
• Identity (Wk 2)
How we locate and see ourselves in the world, especially in relation to
normative codes and values (gender, neoliberal, colonial, etc)
• Time/memory (Wk 4)
Time and the sensations, images, and emotions associated with memory
• Body (Wk 5)
How the body is considered as a sensory experience and/or cultural
construction
• Environment (Wk 6)
The relationship between humans and the natural world
• Place (Wk 7)
How location, place and setting inform artists’ practices
• Belief Systems (Wk 8)
How religious, spiritual and/or ethical perspectives inform artist’s work and
processes.

8. Basic Features of an Artwork:
Material
‘Stuff’ (usually nouns)
Process
Actions, techniques (usually verbs)
Form
Composition, relationship between parts (usually adjectives)
Site
Place (physical, institutional, cultural, historical)

9. ROBERT MORRIS (American b. 1931)
Continuous Project Altered Daily 1969
Process
• Extends beyond simple‘technique’
• The method by which an artwork is made.
• Is arguably the dominant aspect of the artist’s experience of
his/her own work.
• Has ‘corporeal’ connotations – a record of the artist’s bodily
actions.
• ‘Process Art’ of the 1960s emphasised the performative
dimension of art making (as opposed to its final form).
• time - change - transience were seen as an antidote to the order
and structure of earlier modern art.

10. Hans NAMUTH
(German/American 1915–1990)
Jackson Pollock painting One and Lee Krasner, 1950
Edvard MUNCH
(Norwegian, 1863-1944)
The Scream, 1893

11. Lynda BENGLIS
(American b. 1941)
Blatt 1969
Richard SERRA
(American b.1939)
Splashing, 1968
lead

12. Claude CAHUN
Que me veux-tu? (Do you want me?) 1928
Bracha ETTINGER
(Israeli/French b. 1948)
Lichtenburg Flower Medusa 2010-12, india ink, xerography
on paper

13. Ellsworth KELLY
(American, born 1923)
Spectrum Colors Arranged by Chance 11, 1951
cut and pasted color coated paper and pencil on
four sheets of paper, 38 1/4 in x 38 1/4in
Chance
Tacita DEAN
(British, born 1965)
Four, Five, Six and Seven Leaf Clover Collection
(1972–present)

14. ROBERT MORRIS (American b. 1931)
Continuous Project Altered Daily 1969
Week 1
Prepare for class by reviewing the resources in the
Week 1 folder and considering the following questions:
•How does process influence the form of each work?
•How do these artists/writers describe the role of
process in the work?
•What content/affects does process create in each
work?
Make notes in your blog and bring your
observations/questions to class.

15. 2.1 VERB (Homework Task)
Review your folio from KVB117 and list as many different processes as you can (use Serra’s list as a
cue – see Week 1 Resources). Once you have completed this list, use a chance-based method to
select a verb and produce a 4-hr work derived from the sustained application of this verb. (4hrs)
Feedback Session: Week 2 Tutorial
Richard SERRA
Verblist 1967–68
MOMA, New York

16. CARBON AUDIT (Homework Task)
In groups of 4-5 develop a way of measuring and offsetting the carbon impact of the artmaking
process. Use the range of works produced by the group members as a parameter to research the
energy impact of the different materials and processes involved in a work of art. What options
(accessible, affordable) can you employ to offset this carbon cost? (c. 2hrs/person)
Review: Week 2 Tutorial
US Artist Karen LaMonte is a good
example of how carbon impact can
be measured in the studio.
https://www.karenlamonte.com/Carb
on-Negative-Artworks

17. 1.1 ADD/SUBTRACT (In-class Task)
In pairs, create a work using the combined processes of addition and subtraction.
Using a plywood panel as a point of departure, each student takes on the role of either
‘adder’ or ‘subtractor’ to develop a composition. (90mins + 20mins review).
Week 1 Studio