Year 11 Class Activities 3a

Introduction: The Future of Art

In this unit students will look at the video “The Future of Art” Asking questions the issues of "Art in the future." Looking at YouTube videos and discussing the existing artist heading in the direction of Asian and Aboriginal art in contrast to each other and how they are different.

Using political means to strengthen their ploy to make aware of National issues that could potentially happen anywhere else, Artists creating artworks with meaning and using the Social Networks as a platform of a world stage.

Week 1 | 19th July | Period 1 | Homework - Thursday Complete the questions below:

Class Activities: Discuss with students

Will students be introduced to The Future of Art? Questions the use of technology in art and how it is used in the artist practice and culturally invites and creates an environment that uses social networking as a means to discuss and create relationships online to find the answers

The Future of Art

an immediate auto-documentary

What are the defining aesthetics of art in the networked era? How is mass collaboration changing notions of ownership in art? How does micro-patronage modify the way artists produce and distribute artwork? The Future of Art begins a conversation on these topics and invites your participation. (twitter hashtag: #futureofart)

This video was shot, edited and screened at the Transmediale festival 2011 in Berlin, Germany.

Conceived and Edited by Gabriel Shalom

Produced by KS12 / Emergence Collective

Executive Producer: Patrizia Kommerell

Assistant Editor: Clare Molloy

Production Assistant: Annika Bauer

The Future of Art an immediate Auto Documentary

1. What are the defining aesthetics of art in the networked era?

2. How is mass collaboration changing notions of ownership in art? Looking at issues of Copy write, intellectual property and how this is functioning. Watching the idea of appropriation and how this pushes the boundaries. How this affects a collaborative project with the same cause disrupting the traditional forms of the artist practice.

3. How does micro-patronage (Crowd Funding) change the way artists produce and distribute artwork? An example of this http://metamorphosismovie.com/ It is a collective way of connecting creative projects that need funding with an audience willing to lend its micro-patronage dollars.

4. The aim is to investigate the artist practice within the use of technology

5. Exactly what constitutes a "digital avant-garde."

6. Does it refer to artists that embrace computer code and digital software processes as an original new material?

7. Would it be restricted to political or satirical work based on digital media and Internet culture?

Answer these questions: View the Video

1. What are the defining aesthetics of art in the networked era?

2. How is mass collaboration changing notions of ownership in art? Looking at issues of Copy write, intellectual property and how this is functioning. Watching the idea of appropriation and how this pushes the boundaries. How this affects a collaborative project with the same cause disrupting the traditional forms of the artist practice.

3. How does micro-patronage (Crowd Funding) change the way artists produce and distribute artwork? An example of thishttp://metamorphosismovie.com/ It is a collective way of connecting creative projects that need funding with an audience willing to lend its micro-patronage dollars.

Homework - to answer and take part in the dialogue... | Completed

Period 2 | 22/07/11

Discuss with the students...

Who is Ai Weiwei the artist?

Discuss and complete these questions using the videos above and any other related videos

1. What is Ai Weiwei ideas and beliefs about his artworks?

2. How does Ai Weiwei the artist use technology within his artist practice?

3. Exactly what constitutes a "digital Avant-garde" Is Ai Weiwei this type of artist?

4. Does it refer to artists that embrace computer code and digital software processes as a radical new material?

5. Would it be restricted to political or satirical work based on digital media and Internet culture and if so how does Ai Weiwei contributes to this?

Week 2 | 4 Periods |

What will they learn in Artmaking: Major Work Introduction | 1 Period

reflect on and interpret actions and choices, and document these in their diaries

make images and objects (artworks) that approximate an approach to artistic practice

make artworks using a range of 2D, 3D, 4D including drawing, forms, materials, techniques and various investigations of the world.

Using imagination /practising artist practice

Students watched Artexpress videos 26/07/11

Students go to the Glasshouse...

People of the First Sunrise | Indigenous Art from the Eastern Australia | @ Glasshouse - Port Macquarie | 2 Periods |

Critical / Historical:

Students will study the artists and artworks of Fiona Foley | Discuss with students YouTube videos while answering the questions below.

Answer all questions below related to both artworks

1. Give a personal interpretation of this artwork of Fiona Foley and discuss her ideas.

2. What is your personal response to the artworks? Consider the question about the artworks how it might affect the audience or their world around them.

3. Explain what signs and symbols (objects) used to communicate to the audience and why?

Fiona Foley

Fiona Foley: "Forbidden", is the first major survey exhibition of the artist's practice from 1994 to the present.

Currently showing at the Museum of Contemporary Art in Sydney until 31 January 2010, the exhibition will then move to the University of Queensland Art Museum, Brisbane from 19 February to 2 May 2010. A fabulous monograph, jointly produced by the MCA and UQAM to accompany the exhibition, contains essays and images which not only reflect the photographic, video, installation and print works in the exhibition, but also other important aspects and elements of Foley's artistic practice including public artwork, sculptures, and painting.

Fiona Foley (born 1964) is a contemporary Indigenous Australian artist from Badtjala, Fraser Island, Queensland.

She studied at the Sydney College of the Arts. She has travelled as an artist internationally and to remote communities in Northern Territory. In particular visits to Ramingining inspired an awakening to culture and a conscious commitment to living on her land in Badtjala. She helped establish the Boomalli Aboriginal Arts Cooperative in Sydney along with a group of prominent and politically active Aboriginal artists.

Foley uses her art to explore the tensions between sex, race and history and their various constructions.

Foley's work refers to her unique life history as an indigenous woman growing up in regional Queensland, in a community with a living memory of their colonisation by the English. Foley's discourse of history and culture is personal as it has impacted on her family, community and remains central to her sense of identity.

For Foley, however, the political and the personal are not separate entities. Her lifestyle and art both reflect a commitment to her Aboriginal identity and challenge Australian culture to reread history to reveal moments of strength and empowerment.

In 2000, Foley's work was amongst that of eight individual and collaborative groups of Indigenous Australian artists shown in the prestigious Nicholas Hall at the Hermitage Museum in Russia. The exhibition received a positive reception from Russian critics, one of whom wrote:

This is an exhibition of contemporary art, not in the sense that it was done recently, but in that it is cased in the mentality, technology and philosophy of radical art of the most recent times. No one, other than the Aborigines of Australia, has succeeded in exhibiting such art at the Hermitage.^[1]

Her work is held in the collection of the Queensland Art Gallery^[2] and at the University Art Museum at the University of Queensland.

Resource: http://en.wikipedia.org/wiki/Fiona_Foley

1. Who is Fiona Foley? (Research on the web)

2. What are her beliefs about the artworks she creates?

3. Explain to a new student in a class that has not seen this artwork before the especially the artist practice.

4. Explain the ideas involve in the Badtjala Women Series - At the Glasshouse - (Two sets of beads)1994, (with collecting bag)1994, (crossed string)1994.

What will they learn in Critical:

Subjective, structural, cultural and postmodern approaches to making artworks. Discussing what signs and symbols mean to them in the world around them. How artist include signs and symbols within their artworks. Artworks relating to a particular audience or the public in general.

Week 3 - 4 | Students working on Major Works

Practical Project: Record of Students Progress

Week 5 - 10 | Assignment 3 | Major Works | Week 9 Exams | Year 11 - Snow Trip

Beware that there is a lot of shouting in this video it gets annoying after awhile.

As artists wanting freedom of choice and democratic society where the people of China can display their individualisms, Ai Weiwei seeks attention through his artworks and then through the use of Social media gathering support and appealing to the international public. His efforts to challenge the current government is a noble attempt to free the Chinese people from its current state still living under communism rule, activist. Such as Liu Xiaobo, a human right activist, known for winning the Nobel Peace prize in 2010, Hui Jia his work is focused on democracy the environment and his rough work the HIV Aids, Chen Guangcheng, a blind civil rights activist who has tried to bring attention to rural areas. We have activist that fight for different causes and the world appeals for their welfare once poisoned.

I ask the question why do we as human beings gravitate to this attention through art, politics, and human rights but pay less attention to Christian believers that are persecuted by the same government and yet made to be tortured silently. Liu Zhenying is one of those people of the faith, tortured, suffering prolonged torture and incarceration for his faith. His account challenges any complacency about the situation in China, where international economic investment ignores the brutal fact that religious persecution is still a daily reality for millions.

Answer questions below:

1. How do we use art as a platform to voice, comment, state the faith in a world of Social Media and articulate the word of God concisely without using Christian colloquialisms?

2. Why do we as human beings gravitate to other global issues more so than Christian persecution?

3. Why has Chinese art become more popular than Western art or has it?

But the flip side of this argument is that the Aboriginal community still carries the effects of the Christian Missionaries that tried to assimilate the Aboriginals into the western society, more so enslaving them. Fiona Foley suggests that the artwork she practices looks at the Race Relations in Australia being an artist foremost and then an activist. Tackling and provoking thought how we as humans in Australia relate to each other since Australia has become mired in its mindset or has it? She challenges those ideas through historical events playing a major part in a way of attributing to her belief as an Aboriginal in the current society voicing her appeal to those other ethnic groups such as the latest issues of refugees.

I question the Christianity involvement in this part of assimilating the native people of Australia into western society? This to me suggests some characteristic of communist ideas, one side point of view with subversive causes. What do you think and what are your thoughts?

Assignment 3

Chose one activity to complete:

Discuss and write a 500-word essay on the Future of Art?

Or

Create an artwork based on “Race Relations in Australia.”

Or

Create a video documentary on people's thoughts of Ai Weiwei (Might want to consider the touring Chinese High School)

Student assessment

• All class activities completed since beginning of term

• Originality of work

• Executions and quality of workmanship

• Conceptual drawings (a minim of 8 or more)

• Final product

• Annotations

• Rationale of final product

Assessment criteria

Raw Mark Total: 100%

Assignment Weighting:15%

Outcomes: P1-P6