Question For My Friday 2pm - 5pm class

how do we document?

poster presentation

Jamil Yamani

pink bits show

Week 4 


Weeks 4/5: 19/08/13 – 30/08/13
TOPIC: Thinking Through Media

Aims of the class:
Why do we use certain media to represent ideas? In these two weeks we are thinking about why certain materials are used to represent ideas and concepts in art, design and media. How can we re-think these connections? Can we use an antithetical material to describe a concept?

• Why are certain materials used to represent concepts (describe certain things)? (eg a feather for lightness and an anvil for heaviness)
• What happens when we use the wrong material?

Class Tasks:
What happens when we use the wrong material? For the next two weeks (4 & 5) you will be given tasks that will challenge ingrained understandings about materials and what they represent. You will be asked to choose materials for their concepts and ideas NOT their literal connection to the object.

Class Learning Resource prepared by Clare Milledge and Sarah Newall


Introduction and Resources

The Material:
When an alternative material is used to replace part of an image or to stand in for the thing itself that thing/object has a history.
In 1912 Pablo Picasso placed the first ‘real’ object as part of an image, Still-Life with Chair-caning, Paris (1912).
This shift in form and materials reflects the wider renegotiations between art and theory and the breakdown of the traditional art hierarchies in which an art form was defined by its materials.

This change was commented on by Clement Greenberg in this 1967 catalogue essay Recentness in Sculpture he wrote, ‘The borderline between art and non-art had to be sought in the three-dimensional, where sculpture was, and where everything material that was not art also was.’ This borderline has been continually stepped over and challenged by artists since 1912. What has remained consistent, however, is the use of low art and everyday materials, which are already imbued with a rich reference. What this means is that meaning can be added by the artist’s hand – in making the artwork and through choice of materials.

Artists that use low art materials in different ways
Baroness Elsa von Freytag-Loringhoven
Clay Ketter
Fernanda Gomes
Gerhard Richer
Hannah Höch
Justene Williams
Kate Rhodes
Koji Ryui
Louise Weaver
Mikala Dwyer
Ricky Swallow
Tim Silver
Tomas Demand

(source for essay Recentness in Sculpture)

(source for Still-Life with Chair-caning, Paris (1912))

Ozcan. O.”Feel‐in‐Touch: Imagination through Vibration“, Leonardo, MIT Press, 2004, Vol:37, No 4,

!Mediengruppe Bitnik | Surveillance Chess

Collaboration art work of documenting through the process of a map..

Making Stuff With Mell:


Delivery for Mr. Assange» is a 32-hour live mail art piece performed on 16 and 17 January 2013. On 16 January 2013 !Mediengruppe Bitnik posted a parcel addressed to Julian Assange at the Ecuadorian embassy in London. The parcel contained a camera which documented its journey through…

Dropbox for class


pwd: cofa1002

Lionel Richie’s Head | Bestival 2013

This will be a fully immersive, slightly surreal and very personal experience. As people enter one at a time, they will discover at the core of Lionel’s Head lies a telephone. When a person answers the phone, they hear ‘Hello, is it me you’re looking for?’

ryoji ikeda

Claire Healy and Sean Cordeiro


With Life Span, Sean Cordeiro & Claire Healy have arranged 175, 218 VHS video cassettes to form a solid block in the Ludoteca, a deconsecrated chapel of a former nunnery in the Castello district in Venice. The combined running time of these cassettes, if watched one after the other, would be 60.1 years, the average human life span in 1976 – the year that the VHS was released.


Things come Apart.

Things Come Apart  : TODD MCLELLAN 

exposes the inner working of 50 objects and 21,959 individual components as he reflects on the permanence of vintage machines built several decades ago—sturdy gadgets meant to be broken and repaired—versus today’s manufacturing trend of limited use followed by quick obsolescence. Captured in his photography are myriad parts laid flat and organized by function, creating recontextualized images of wagons, chainsaws, computers, and phones. He also shoots high-speed photos of carefully orchestrated drops where pieces are shot in midair as they come crashing down, creating impressive visual explosions.