Reflections and feedback part 3

Tutor Feedback Session Notes Monday 27th January 2020.

Drawing 2: Assignment 3.

Present: Neil Cramond and Bryan Eccleshall.

Meeting opened at 16.30.

  • Meeting opened with a brief discussion where BE recommended that NC should be able to produce a draft of the Critical Essay for the next Assignment submission and that I should start becoming more selective with my work for the Parallel Project.
  • BE advised that I need to make the process more important in my work, that I should also challenge and embrace different styles, but make it clear that although I am willing to push my boundaries by trying different styles that I know where my strengths lie as an artist and I know that a more Traditional place is where I fit in as an artist.  I need to be careful that this does not read as being reluctant and resistant to the exercises. The aim is to arrive somewhere that I could not have conceived of at the beginning of the course by embracing the exercises.
  • The marks which I made with the drawing medium attached to a fishing rod section could be mimicked and taken forward to develop the drawing process. – Action NC.
  • BE recommended that NC should look at the work of Frank Auerbach and Leon Kosov (who both studied under David Baumberg) and explore the heavy mark making and erasing inform the process of the drawing over time – indeed the paper was worn through in places as it took place over two years – Action NC to examine how this could be applied to my own work.
  • NC discussed how Sargent’s charcoal drawings informed both line and tone, BE suggested that his drawings were opulent in feel, perhaps because of his subject matter being the upper classes.
  • This then led to a discussion about Rauschenberg and Pollock and their artistic process, particularly as NC has noticed through the research activities a new insight into the ‘why’ of their work and their mark-making. Indeed, these marks can be seen as a documentation of their own making, BE advised that NC should be aware of this. The physicality of the portrait painting process should go beyond the superficial ‘just a likeness’ of the sitter. Interesting things happen in Art when the portrait has something else to offer the viewer, emotion in the physical marks, not just the sitter’s eyes and mouth.  – Action NC ongoing.
  • NC needs to embrace creativity and make plenty of experimentation.
  • BE asked NC not to send word docs along with assignment as I already have the information the blog. – Action NC.
  • BE picked up on the drawing blind exercise and explained how a new exciting outcome can arrive from this process as new lines and shapes arrive. This method could be applied to portraits and explore how an entirely new portrait could be arrived at. – Action NC.
  • Mark-making can be personalised, BE discussed Van Gogh and Rembrandt’s use of mark making and how the act of making a image can be more important than getting a likeness.
  • BE asked NC about the music that was used for the final outcome as I did not write about this in the blog and should explain how the process/outcome was different to other exercises.  – Action NC.
  • BE advised that at the end of each assignment NC should write a section indicating which exercises could go forward to the Parallel Project. – Action NC.
  • BE asked NC to add detail in the Tutor Feedback and Reflections section in my blog. NC advised that this was deliberately blank just now as I wanted to ask if BE wanted password protect on this section before adding to the blog. BE advised that the entire tutor feedback should be included to avoid anything being taken out of context. – Action NC.
  • BE suggested that a good exercise would be to create my own canon of a selection of twelve paintings by my favourite artists and link this back to the point made earlier about embracing the different styles while knowing my own traditional style. – Action NC.
  • BE advised that NC should include all research for Pollock exercise to prove extra research to show wider thinking and make it relevant to my own work. – Action NC.
  • BE suggested assignment four deadline submission date of 27th March. NC happy with this date, discussion followed about strategy of completing more of the Parallel Project in the time just now before returning to plug any gaps later on.
  • Discussion followed about the Critical Review and BE recommended that NC should be more selective in the artists I discuss as there is a danger it could become a list of artists that use line and tone, better to be specific to a limited number, then be critical in your answer. Rembrandt draws like an etcher and Van Gogh draws like a painter. BE recommended that I look at the book ‘What Painting Is’ by James Elkin. Also watch the word count!  – Action NC.
  • Brief discussion followed about feedback from November Assessment from the History of Art module, BE spoke of the difference between information/knowledge/wisdom and how they are applied in a critical sense. Further to this another discussion about various artists before the meeting closed at 17.40 where NC is to supply notes before Thursday. Action NC

Formative feedback
Overall Comments
Thanks for uploading the latest batch of work. This report is based on the notes you sent, with comments by me in RED. You also have a recording of the conversation to which you can refer.
As discussed: ● BE advised that I need to make the process more important in my work, that I should also challenge and embrace different styles, but make it clear that although I am willing to push my boundaries by trying different styles that I know where my strengths lie as an artist and I know that a more Traditional place is where I fit in as an artist. I need to be careful that this does not read as being reluctant and resistant to the exercises. The aim is to arrive somewhere that I could not have conceived of at the beginning of the course by embracing the exercises. You’ve shown in your research that when yo find out about the work of others (Pollock, Rauschenberg in this submission) you begin to understand it a bit more. Be generous and open in trying things out. You might want tot make a particular kind of work but embrace the possibility that there are lots of other ways of making work and that some of them will enrich your nascent practice. Relax. Play. Muck about. Fail. You’ll learn a lot if you do. ● You mentioned felling isolated. I strongly recommend you contact other students on Drawing Two to build up some peer support. Take time to look at the WEAREOCA blog as well. There’s lots of material on there and you can leave comments to start dialogue. Feedback on exercises and assignment Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity As discussed: ● BE picked up on the drawing blind exercise and explained how a new exciting outcome can arrive from this process as new lines and shapes arrive. This method could be applied to portraits and explore how an entirely new portrait could be arrived
Student name

Neil Cramond Student number
515702
Course/Unit

Drawing 2: ID Assignment number
3
Type of tutorial (eg video/audio/ written)
GH
at. – Action NC. We spoke about the exercises being ways of generating new ideas and approaches to making. You’ve said that you enrolled on Drawing Two to challenge yourself. This is how it’s done. Don’t end up with a more refined vision of what you can already do. ● Mark-making can be personalised, BE discussed Van Gogh and Rembrandt’s use of mark making and how the act of making an image can be more important than getting a likeness. ● The marks which I made with the drawing medium attached to a fishing rod section could be mimicked and taken forward to develop the drawing process. – Action NC. ● BE asked NC about the music that was used for the final outcome as I did not write about this in the blog and should explain how the process/outcome was different to other exercises. – Action NC. Make sure you understand the idea behind the exercises. You seem to want turn them into what you might do anyway. (see also the drawing machine one). Talk to other students about this and look at their blogs to find out how they tackle the exercises. Swap ideas. ● I should start becoming more selective with my work for the Parallel Project. You’re amassing a foundation for this. Now’s the time to start reflecting on it own relation to other artist’s work and then pushing on to make something NEW. BE advised that at the end of each assignment NC should write a section indicating which exercises could go forward to the Parallel Project. – Action NC. ● Discussion about Rauschenberg and Pollock and their artistic process, particularly as NC has noticed through the research activities a new insight into the ‘why’ of their work and their mark-making. Indeed, these marks can be seen as a documentation of their own making, BE advised that NC should be aware of this. The physicality of the portrait painting process should go beyond the superficial ‘just a likeness’ of the sitter. Interesting things happen in Art when the portrait has something else to offer the viewer, emotion in the physical marks, not just the sitter’s eyes and mouth. – Action NC ongoing. In short, allow stuff in. ● Research Context, reflective thinking, critical thinking, analysis As discussed: ● BE advised that NC should include all research for Pollock exercise to prove extra research to show wider thinking and make it relevant to my own work. – Action NC. Don’t be shy: if there is more research than you’ve currently loaded onto the blog, add it. My recommendation is that you add as much as possible The blog should be overflowing with references / analysis / reflection / work. Link things to other things. Forge connections and relations between things to make sense of what’s going on. It’s not just about making things. ● Well done on the Pollock and Rauchenberg pieces especially. This shows you can learn about practices outside your own thinking. try and see as much work as possible in the flesh – especially big stuff. You know it is different in the flesh. you need to demonstrate that knowledge here. ● BE suggested that a good exercise would be to create my own canon of a selection of twelve paintings by my favourite artists and link this back to the point made earlier about embracing the different styles while knowing my own traditional style. – Action NC. Doing this will help you triangulate your position in relation to that of others. IT could be an ongoing project (postcards on the wall where you work?). Write a piece on why they’re in. Learning Logs or Blogs/Critical essays Context, reflective thinking, critical thinking, analysis
As discsused: ● BE asked NC to add detail in the Tutor Feedback and Reflections section in my blog. NC advised that this was deliberately blank just now as I wanted to ask if BE wanted password protect on this section before adding to the blog. BE advised that the entire tutor feedback should be included to avoid anything being taken out of context. – Action NC. Reflecting on the blog about the things I’ve suggested is important it will show assessors that you are taking things on board. ● BE recommended that NC should be able to produce a draft of the Critical Essay for the next Assignment submission. Send the draft a Word document so it can be easily annotated. Keep it focussed – you’ve only got 2000 words. (a little bit longer than this report). BE recommended that NC should be more selective in the artists I discuss as there is a danger it could become a list of artists that use line and tone, better to be specific to a limited number, then be critical in your answer. Rembrandt draws like an etcher and Van Gogh draws like a painter. Also watch the word count! – Action NC.
Suggested reading/viewing Context As discussed: ● BE recommended that I look at the book ‘What Painting Is’ by James Elkinw. This shows art practice to be a process of transformation: of making something worth looking at in its own right. You admire Singer-Sargent’s work: his paintings are more interesting than their subjects, in my opinion. That’s a transformation of sorts, not a representation. ● BE recommended that NC should look at the work of Frank Auerbach and Leon Kossoff (who both studied under David Bomberg) and explore the heavy mark making and erasing inform the process of the drawing over time – indeed the paper was worn through in places as it took place over two years – Action NC to examine how this could be applied to my own work. The images they made were physically demanding and hard won. The more they work, the more intense they things got. This is an Auerbach that has been patched up by the artist as he worked:

Pointers for the next assignment ● Reflect on this feedback in your learning log. ● Follow up on the suggestions I have made. ● This section is likely to take you way out of your comfort zone. Get stuck in and – if it helps – imagine you’re a completely different kind of artist.
Please inform me of how you would like your feedback for the next assignment: Written or video/audio. For Level Two and three students I recommend having as many video tutorials as possible though you’re under no obligation to have any.
Well done, I look forward to your next assignment.
Tutor name Bryan Eccleshall Date 29/1/20 Next assignment due 27/3/20