Example  project  proposals  

Unit 7 Proposal - “Unseen” Section 1 Progress and Achievement

My Foundation course this year has taught me how to follow a natural flow of research and idea development, exploring all possible concepts. I have learnt to select suitable manufacturing techniques and skills, and how to run with a theme and push the idea until it is innovative and ready for high quality production. But above all, it has helped me embrace my individual style and way of working, to go with my interests and instincts, driving me to be more ambitious and enable me to really absorb myself in my work and experiment with my processes.

Section 2 Pathway Choice

From initially exploring fine art and product design for A Level and then finding interest in fashion, I realised that I am a maker at heart who enjoys working with physical materials. I want to create innovative designs on the human body, thus ending up specialising in jewellery design. I enjoy fusing my varied interests of philosophy and product design, in the hope of introducing a style of jewellery with a function and purpose beyond a merely aesthetic nature. Just like how Hussein Chalayan introduces movement and performance into typical fashion design, I hope to give a similar ingenious twist to jewellery.

Section 3 Project Proposal Aims and Realisation

Miscommunication and misunderstanding between humanity like language, culture and religion cause barriers and conflict, even leading to greater clashes like wars and violence. However, art and design for me is one of the few things in our world that can overcome these differences, because it uses something basic that we all share: the human sense of sight. Whether through a painting, product or clothing, anyone can form an opinion or engage with a design based on its appearance. This was why I actually got attracted to art and design in the first place. However, it dawned on me that there was one group of people who had no choice but feel excluded from art culture... the blind. Especially in the field of jewellery, where visual taste and aesthetics are vital, the visually impaired are left out of products designed for want rather than practical need. The blind only get a vague sense of the world they are surrounded in; the world is “unseen” to them, and they are “unseen” by us. They can feel lonely enough as it is, so by merely identifying them as a client for this project, I hope to make them feel more included in society. Therefore in this project I hope to explore how the blind experience and sense the world through secondary and primary experiments and research, maybe questioning the assumed importance of aesthetics in jewellery design. Instead looking at the experience and interaction of the piece through material, texture, shape, touch, sound or even taste and smell, rather than just its visual appearance.

Section 4 Evaluation

Constant evaluation during and after my design processes will be essential in helping me advance my progress in idea development. I will therefore use my reflective journal everyday to record any development in my project, new thoughts, experiences and feedback, as well as recording any changes to my original proposal.

Name: XXXX Pathway: JFFA Project Title: Unseen

Bibliography Books

• Axel, E.S and Levent, N.S. (2002) Art Beyond Sight: a resource guide to art, creativity, and visual impairment. 1 ed. New York, N.Y. : Art Education for the Blind: AFB Press. �

• Bennett, A.G. (2012) Engendering Interaction with Images. Bristol: Intellect. �

• Berger, J. (1973) Ways of Seeing. London: British Broadcasting and Penguin Books. �

• Cytowic, R.E. (2009) Wednesday is indigo blue: discovering the brain of synesthesia. Cambridge, Mass. ; London: MIT Press. �

• Graham, G. (2005) Philosophy of The Arts: An introduction to aesthetics. 3rd ed. London: Routledge. �

• Kripke, S.A. (1982) Wittgenstein on rules and private language: an elementary exposition. Oxford: Basil Blackwell. �

• Revesz, G. (1950) Psychology and art of the blind. London: Longmans, Green, and Co. �Film and video �

• Black (2005) Directed by Sanjay Leela Bhansali, SLB Films 122 mins. �

• Blindness (2008) Directed by Fernando Meirelles, Focus Features, Miramax Films, �121 mins. �

• Red Like the Sky (2006) Directed by Cristiano Bortone, 96 mins. �

• The Miracle Worker (2000) Directed by Nadia Tass, The Wonderful World of Disney, 95 mins. �

• The Boy Who Sees Without Eyes [Documentary] (Undated) �

• What do Blind People See?, video, TommyEdisonXP, 19 March 2013, �<https://www.youtube.com/watch?v=ZDHJRCtv0WY>. Exhibition Catalogues �

• The Touch Art Fair (2013) Marylebone: old BBC studios. �

• Touching Art Touching You (2007) BlindArt Permanent Collection. �

• Sense & Sensuality (2006) BlindArt, London: Bankside Gallery. �

Unit 7 Action Plan / Timetable

Name: XXXX Pathway: JFFA

Week 22

16th – 20th February

-Secondary research using books from library, internet and other resources.-Visit Science Museum? (investigate scientific explanation on eyesight?) check out other galleries and museums too.

-Primary Research: conduct experiments on blind experiences on myself and friends-make sure concept idea is pretty much decided by weekend

Week 23

23th – 27th February

-Initial ideas from research and concept idea-continue finding more additional research – in terms of related practitioners, etc.?

Week 24

2nd – 6th March -Design development and initial model-making -progress tutorials

Week 25

9th – 13th March -Design development, 3D model making and material testing

Week 26 16th – 20th March

-More design development-Working towards a final design idea and a good quality model of it

Week 27

23th – 27th March

-Start preparing action plan for making the final design, tools, machinery, techniques and materials needed-Start making in workshop

Easter Holiday Week 1 -Making in workshop

Easter Holiday Week 2

-Making in workshop

Week 28

13th – 17th April -Making in workshop -Finishing touches to design

Week 29

20th – 24th April -Photograph final piece-Prepare sheets for the project and finish any work in sketchbook or workflow, etc.

Week 30

27th April – 1st May

Setting up the Exhibition on Monday 27th and Tuesday 28th April.

Final submission deadline for Part 3 Assessment is Tuesday 28th April, 4.00pm

Resources required: What machines, materials, processes, technical support and skills will you need?

Assessment evidence that you aim to have: Please list what you hope to submit for assessment:

 

“When a man cannot choose he ceases to be a man”

!Unit 7 Art and Design Project Proposal and Realisation !Pathway: Performance Design and Practice !Project Title: !“When a man cannot choose he ceases to be a man” - Prison Charlie in ‘A Clockwork Orange’ !An exploration into the effects of state control on individuals in society through an immersive installation and multi media layering of images. !Progress and Achievement: Reflecting on my work this year, a number of my projects have resulted in a physical model as the final outcome. However, I feel that the photographic images of these physical outcomes have been in themselves stronger and more engaging than the piece itself. This has led me to increasingly focus on digital mediums, using the power of technology both within the piece as well as for the final outcome. The idea of layers is also something which I have developed throughout the year and hope to explore further in this project through the manipulation of images and juxtaposing of different images together. !Pathway choice: My experience on the PDP pathway has pin pointed what I wish to pursue on my BA course. An introduction into the use of light and projection as fundamental aspects to any performance and their ability to transform a space, creating an immersive experience for the audience has inspired me to explore these techniques in the future and through this project. Additionally, I hope to investigate the areas of live and performance art, as well as the use of the human body within art. The human body is such a powerful source in conveying hard-hitting, often rather sensitive subject matters through its fragile nature. !Project Proposal Aims and Realisation: In reading ‘A Clockwork Orange’, the concept of control, and more specifically state control over Alex, became a visibly recurring theme. Alex’s thoughts and behaviour are manipulated in order to maintain the ‘State’s Peace’, his personal identity being masked by this ideal. I will investigate this disregard for an individual’s welfare throughout my research and design process. Burgess’ inspiration behind writing ‘A Clockwork Orange’ came after a trip to Leningrad in 1961 where he observed a state-regulated, repressive atmosphere of a nation where moral responsibility was being shifted from the individual to the state and I aim to delve deeper into these influences which emerge as the text progresses. I will explore this intriguing strong socio-political focus both through historical references as well as current issues surrounding state control in modern day society and consider how times have changed, or perhaps not so much. The emotive power of political photography was evident in the ‘Human Rights Human Wrongs’ exhibition at the Photographer’s gallery and I endeavour to explore the use of photography to convey strong political messages in my own project. Furthermore, the use of collage and the juxtaposing of images to produce striking and bold commentaries on social and political issues can be exceptionally effective. I will investigate the ways different artists have used this technique as the foundation of their work whether this be through video, still montages or even performance.

“When a man cannot choose he ceases to be a man”

For this project, through a time-based, photographic piece which incorporates the idea of layering, I hope to convey a socio-political statement about state control in an immersive setting. I will explore the potentials of live collage through projection and the possibilities of audience interaction with the projection and their overall experience. !Evaluation: Frequent entries into my reflective journal will ensure that I critically evaluate my progress throughout the project with any developments through contextual and artist research, experimentation or peer and tutor feedback being documented and reflected on here. Alongside this, I will manage my time effectively by formulating week-by-week action plans, setting achievable targets and goals to meet required deadlines. !

“When a man cannot choose he ceases to be a man”

Unit 7 Art and Design Project Proposal and Realisation !Pathway: Performance Design and Practice !Project Title: !“When a man cannot choose he ceases to be a man” - Prison Charlie in ‘A Clockwork Orange’ !An exploration into the effects of state control on individuals in society through an immersive installation and multi media layering of images. !Bibliography !Books: !• Burgess, Antony. (2003) A Clockwork Orange : Restored Edition. London. Penguin

Classics • Freud, Sigmund. (2004) Civilization and its Discontents. London. Penguin Books Ltd.• Godfrey, Mark. Schimmel, Paul. Todolí, Vincente. (2014) Richard Hamilton. Tate

Publishing.• Greenfield, Susan A. (2000) The Private Life of the Brain. London. The Penguin Press• Holloway, Richard. (1999) Godless Morality : Keeping Religion Out Of Ethics. Canongate

Books Ltd.• Lundelin, Kari. (2012) World Press Photo 12. London. Thames and Hudson• Machon, Josephine. (2013) Immersive theatres : intimacy and immediacy in

contemporary performance. Basingstoke. Pelgrave Macmillan• Manie, Ann. (2012) Mixed Messages : The Versatility of Collage. London. A & C Black.• Mesch, Claudia. (2013) Art and Politics : A Small History of Art for Social Change since

1945. London. I.B.Tauris• Neat, David. (2008) Model-Making. Materials and Methods. Ramsbury. The Crowood

Press Ltd.• Skinner, B.F. (1972) Beyond Freedom and Dignity. New York. Jonathan Cape Ltd• Stoneman, Rod. (2013) Seeing is Believing : The Politics of the Visual. London. Black

Dog Publishing.!Films: !• A Clockwork Orange. (1972) directed by Stanley Kubrick. 131 minutes. [DVD] Warner

Home Video • Brave New World. (1998) directed by Leslie Libman and Larry Williams. 87 minutes.

[DVD] National Broadcasting Company• Divergent. (2014) directed by Neil Burger. 139 minutes. [DVD] Summit Entertainment!Exhibitions: !• History is Now. Hayward Gallery. Southbank. SE1 8XX. 10 Feb - 26 April • Human Rights Human Wrongs. The Photographers Gallery. 16-18 Ramilies Street, W1F

7LW. Until 6 April• Novelty Automation. 1a Princeton St, London WC1

“When a man cannot choose he ceases to be a man”

• The Modern Lens : International Photography and the Tate Collection. Tate St Ives.Porthmeor Beach, TR26 1TG. 14 October 2014 – 10 May 2015

• Tony Oursler. Lisson Gallery. 52-54 Bell Street, NW1 5DA !On-line resources: !• David Shearing (2011) If Anyone Wonders Why Rocks Breakdown. [Online] Available

from http://www.davidshearing.com/works/if-anyone-wonders-why-rocks-breakdown/. [Accessed 25th February 2015]

• Elizabeth Manchester. (2000) Mona Hatoum : Measures of Distance 1988. [Online]Available from http://www.tate.org.uk/art/artworks/hatoum-measures-of-distance-t07538/text-summary. [Accessed 21st February]

• Jason Candanedo. (2014) Top 10 Ways to Torture Someone with Water. [Online]Available from http:// www.toptenz.net/top-10-ways-to-torture-someone-with-water.php.[Accessed 16th April 2015]

• Luhring Augustine. (2010) Pipilotti Rist. [Online] Available from http://www.luhringaugustine.com/artists/pipilotti-rist. [Accessed 20th March 2015]

• Marie Carter. (2008) The Re-enactment of Lygia Clark’s Baba Antropofágica(Anthropophagic Droo). [Online] Available from http://www.brooklynrail.org/2008/10/local/the-re-enactment-of-lygia-clarks-baba-antropofgica-anthropophagic-drool. [Accessed15th February 2015]

• Penny Slinger. (2014) An Exorcism. [Online] Available from http://pennyslinger.com/Works/an-exorcism-2/. [Accessed 22nd February]

• Southbank Centre. (2015) History is Now : 7 Artists Take on Britain. [Online] Availablefrom http://www.southbankcentre.co.uk/whatson/history-is-now-7-artists-take-88866-.[Accessed 13th February 2015]

• Sparknotes. (2007) A Clockwork Orange : Anthony Burgess. [Online] Available fromhttp://www.sparknotes.com/lit/clockworkorange/. [Accessed 6th February 2015]

• Whitechapel Gallery. (2014) Hannah Höch. [Online] Available from http://www.whitechapelgallery.org/about/press/hannah-hoch/. [Accessed 10th February 2015]

• Wilfred Weegee. (2012-2014) Wilfred Weegee. [Online] Available from http://wilfredweegee.com. [Accessed 22nd February 2015]

• Tate St Ives. (2015) The Modern Lens : International Photography and the TateCollection. [Online] Available from http://www.tate.org.uk/whats-on/tate-st-ives/exhibition/modern-lens-international-photography-and-tate-collection. [Accessed 21stFebruary 2015]

• Tim Hunkin. (2014) Novelty Automation. [Online] Available from http://www.novelty-automation.com. [Accessed 11th March 2015]!

Performances: !• The Nether, written by Jennifer Haley, Duke of York Theatre. 5th March 2015 !Magazine Article: !• Chris Waywell. (2015) Human Rights Human Wrongs. Timeout. February, p83

“When a man cannot choose he ceases to be a man”

Unit 7 Action Plan / Timetable !The more time you give to planning your Unit 7 project, the more successful it will be. !Your action plan should be as detailed as possible. Give careful consideration to the time your project will take to complete. !When working on your project, it is likely that your ideas evolve and change. Remember to record these developments in your Reflective Journal. !The resources you require to realise your project may include workshops, libraries, museums, galleries, internet, technical staff, tutors, learning support, materials and equipment. !As well as your project proposal, you are expected to provide Unit 7 assessment evidence. This may include sketchbooks, reflective journals, worksheets, models and maquettes, final outcomes, a written evaluation and an extended additional bibliography. !Remember you need evidence and a clear record of everything you do. !!!The questions below reflect the learning outcomes of Unit 7.!Ask yourself these questions to ensure that your project work meets the assessment criteria. !

1. What are the critical and contextual perspectives of your proposedproject?!

2. How will you research, analyse and evaluate your ideas to helpdevelop creative solutions?!

3. How will you solve complex problems through practical, theoreticaland technical understanding?!

4. How will you adapt and use appropriate practical methods and skillsfor creative production?!

5. How will you use evaluative and reflective skills in order to takeresponsibility for your own learning, development and effectivedecision making?!

6. How will you critically review the effectiveness and appropriateness ofyour planning, methods, actions and results?!

7. How will you effectively present yourself and your work to appropriateaudiences?!

“When a man cannot choose he ceases to be a man”

The submission deadline for Unit 7 is the week commencing Monday 27th April 2015!!

This is when you start to set up your exhibition! !Unit 7 Action Plan / Timetable Page 1 of 2 !Name: !Pathway Performance Design & Practice !

Project Title: !“When a man cannot choose he ceases to be a man” - Prison Charlie in ‘A Clockwork Orange’ !An exploration into the effects of state control on individuals in society through an immersive installation and multi media layering of images.

What are you planning to do and hoping to achieve?

List planned tasks in detail. Focus on research, planning and idea development,

practical, theoretical and technical problem solving, presentation and evaluation.

!Week 21 9

Feb

- Finalise concept for proposal - initial thoughts and ideas - illustrate through experimental collages

- Research - look at books on morality, how the brain works and politics in art

- Mon: Peer Tutorials - discuss ideas and gain feedback- Tues: Start writing proposal- Wed: UP Engagement Activity, finish proposal - Thurs: Hand in draft proposal. Create poster illustrating

ideas and concept. - Fri: History is Now at the Hayward Gallery Exhibition

!Week 22

1620

- In Cornwall so visit Modern Lens exhibition at Tate St.Ives - Respond to collage artists e.g. Hannah Höch touching upon

the concepts of state control over individuals using historical photography.

- Create own collages using magazine cutouts - consider use of particular images and composition to highlight concept.

- Continue contextual research

“When a man cannot choose he ceases to be a man”!

Week 23 23

27

- Mon: Text Analysis workshop - visualise scenes, storyboardchapters to create storyboard of whole book.

- Tues: Character Analysis - Alex as focus - considerdescription from book to form own interpretation of character.

- Wed: Tony Oursler Exhibition at the Lisson Gallery- Thurs: Start forming ideas for final piece - collate research.

Consider immersive space - how could transform space using projections and light - create engaging experience for audience.

- Weekend: Experiment with imagery to represent concept,inspired by research - photography of self with paint and mannequin limbs.

!Week 24 2March

- Tues: Progress Tutorial - consider and reflect on tutorfeedback

- Wed: Photographic response to Richard Hamilton- Thurs: The Nether Play - look at use of space

!Week 25 9

March

- Mon: Building models from technical drawings workshop -think about creating model of space for immersive installation to illustrate experience

- Tues: Drawing light in performance workshop - important!- Wed: Novelty Automation- Thurs: Storyboarding techniques for film and performance

workshop - will need to storyboard how audience to experience space

!Week 26

1620

March

- Mon: (Morning) - How to write risk assessment workshop.(Afternoon) - Experiment with projection - project into sketch model and project onto human body.

- Tues: Design presentation - peer group tutorials - considerany feedback - reflect and develop on

- Thurs: Explore different surface textures for use in space- Fri: Consider different ways to disorientate audience- Weekend: Photograph person in handcuffs

!Week 27

2327

March

- Mon: Project onto surfaces. Start experimenting with creatinganimation using stills in photoshop

- Tues: Es Devlin Talk- Wed: Exhibition & submission talk- Thurs: Workflow peer tutorials - source any specific materials needed for model over Easter

“When a man cannot choose he ceases to be a man”!!Term Break

- Fri 27th - Tues 31st: Away!- Wed: Cut out components for model- Thurs: Prepare surfaces of model- Fri - Mon: Sketchbook Blitz- Tues: Risk Assessment- Wed - Fri: Construct model- Sat: Record noise. Experiment with projecting into model- Sun: Start final animation

!Week 28

1317

- Mon - Tues: Complete animation- Peer Group tutorials - consider any feedback - respond with

any last alterations or adaptations for most impact - Rest of week: Complete model. Make model figures- Thurs: Record drips

!Week 29

2024

- Mon: Make clothes for model figures. Document significantresearch in book. Exhibition space allocation - think about how will present work.

- Tues: Lighting setup for Documentation of work - finaldocumentation

- Wed: Document model in book. Start buying supplies forexhibition

- Thurs: Peer assessment - reflect on - final documentation- Fri: Evaluation- Weekend: Bibliography. Workflow. Any other mopping up that

might be needed

!Week 30 27

– 1May

Setting up the Exhibition all week. Final submission deadline is Tuesday 28th April!! - Mon & Tues: Hang exhibition!- Ensure everything ready for deadline and handing in

Resources required:

What machines, materials, processes, technical support and skills will you need? - Camera - Projector - Model making materials - model making skills - Lighting equipment !

“When a man cannot choose he ceases to be a man”Assessment evidence that you aim to have:

Please list what you hope to submit for assessment: !- Sketchbook - Workflow - Reflective journal and information file - Final Outcome - Model projected into. Stills - photographic

storyboard. - Presentation in exhibition !!!

PERSONAL PROJECT PROPOSAL IMAGE = THE MIND = THE ARCHIVE / OBJECT = THE BODY = THE MUSEUM Progress and Achievement

Throughout Foundation I have acquired skills in time management, which will enable me to meet the final deadline and intermediate deadlines outlined in my action plan. I have also gained skills in evaluating my outcomes, both independently and through peer groups, which will help me assess my progress to ensure that I stay focused and improve. As well as gaining a broader contextual base built up from previous research, I have gained skills in integrating this research with experiments in materials and processes to ensure that my work is based on a solid foundation, and is therefore more successful.

Pathway Choice

My decision to study on the Fine Art Practice Pathway was determined by my desire to unite my work with my interests in History, and begin to develop ways of pushing the boundaries of the conceptual link between the two areas, something that is a constant throughout my work. Both subjects aim to explore the human condition and so through their unification, I intend to examine humanity at a far deeper level. To achieve this unification, I hope to increase my understanding of History by studying a History BA, which will enable a more informed integration of both subjects.

Project Proposal Aims and Realisation

The aim of this project is to launch an investigation into the truth of two pseudo-mathematic equations: ‘IMAGE = THE MIND = THE ARCHIVE’ and ‘OBJECT = THE BODY = THE MUSEUM’. These equations are an attempt to express and classify the duality inherent in the world and extend this duality first into the self, and then into the institutions that dedicate themselves to studying this self: the archive and the museum. Through this, I intend to explore the notion of duality and the nature of the image, mind, archive, object, body and the museum discussed in the equations, as well as question the equations themselves, through deliberately reassembling, linking and dismantling them. To achieve this, I will establish links between the image/object and the mind/body and investigate theories that place these at the heart of the Archive and the Museum. I will research artists who are informed by the Archive and the Museum as well as how artists have subverted the boundaries between image and object, to inform my own visual investigations. Drawing, as an intimate form of personal exploration, will be central to my exploration of the Mind through the Archive, therefore I will need various resources such as pencils, pens and paper. I will also explore techniques that undermine the boundaries between the image and the object. Film and photography will enable me to carry out the transformation necessary to turn objects into images and visa versa therefore I will require resources such as a camera and film-editing software.

Evaluation

I will evaluate my work through constant self-interrogation and daily reflections on my decisions and changes. I will also take full advantage of peer and tutor reviews in order to gain valuable feedback on my outcomes and ideas, which I will record in my reflective journal and respond to.

Name: xxxxxxxx Pathway: Fine Art Practice

Personal Project Proposal First Action Plan (Pre planning)

Week Research, Planning and Ideas Development

Practical, Theoretical and Technical Problem Solving

Where do you expect to work

Week 22 (Reading week) Feb 16—

Research/ Experiment/ Reflect/ Evaluate

Research artists (Otolith Group, Tacita Dean, Chris Marker, Elizabeth Price + any others I find in research)

Research concepts that link the archive to the mind and the museum to the body (Archive Fever, Derrida/The Quick and the Dead)

Find images of objects from a museum collection (from an actual archive/book/online) Research through doing – draw from memory/the mind/the body/ At the end of the week write up my findings to clarify my thoughts and my next direction

Rent/buy a projector to experiment with projecting images. Get access to a Rostrum camera.

Carry out experimental pencil drawings taken from the body/mind in a small sketchbook + on a long roll of paper (till roll?) Make sure I have a camera and tripod Experiment with images and objects using photography of objects from a museum collection (photographing the photographs/filming with panning) photographing/filming objects)

Experiment with photographing inside a gallery (the Ashmolean) These experiments should be divided into two sides - one that deals with the archive and one that deals with the museum

(Studios not open) Home Library

Week 23 Feb 23—

Research/ Experiment/ Reflect/

Write a clear statement regarding the work I will produce (a hypothesis – what I hope to explore/examine in my work) Reflect upon the experiments and how successful they have been in conveying my ideas

Use this reflection to inform how I

Get access to a Rostrum camera. Experiment with using a rostrum camera (if I can gain access to one) to create panning shots of these drawings (to reduce an image to an object)

Studios

Evaluate

continue with these experiments Continue to research any areas that I was unable to last week (and any areas that I feel on reflection would be beneficial) – through books, articles, making and exhibitions (ICA Dor Guez: The Sick Man of Europe)

Visit the Mass Observation Archives (Wednesday) – plan what

Continue the experiments from last week that attempt to connect the image with the mind and the archive + the object with the body and the museum (see list in previous box)

Project the outcomes of these to play with the

to find there concept of image vs object

Begin to respond to these experiments – attempt to combine the two sets of experiments – using diagrams (Experiment with using diagrams + geometric shapes (e.g. the square to impose a concrete object onto the drawings of the mind/archive)

Week 24 Mar 2—

Research/ Experiment/ Reflect/ Evaluate/ Plan

Evaluate success of previous tests Evaluate any change/development of ideas so far

Carry out any further research into processes or concepts raised the previous week Relevant exhibition visits (Sarah Sze: Victoria Miro)

Continue to carry out experiments Film hands touching objects (will need to acquire museum objects/white backdrop/plinth/camera/tri pod)

Continue to refine the use of the rostrum camera Experiment with uniting the concept the two equations (through film/diagrams?) Download Adobe Premier Pro

Studios Library

Week 25 Mar 9—

Respond to research/ Experiment with Materials

Evaluate success of previous tests Evaluate any change/development of ideas so far

Carry out any further research into processes or concepts raised

Refine the previous experiments (perhaps find new ways of exploring the equations) Experiment with presenting these in other formats (e.g.

Studios (Archway) Library

and Processes/ Reflect

the previous week Relevant exhibitions visits (Hayward Gallery)

book/print/film)

Week 26 Mar 16—

Respond to research/ Experiment with Materials and Processes/ Reflect

Decide on media/size (e.g. film/installation) Decide on exact concept of final piece – the quality it will convey, the ideas it will convey/explore Relevant exhibition visits

Begin creating the final piece Film the footage needed to begin the create the piece (rostrum camera over drawings, filming a museum catalogue, creating lecture slides) if my final piece is a film

If not carry out other preparation work (e.g. design the layout of the book)

Studios Archway animation studio

Week 27 Mar 23

Respond to

Reflect upon and evaluate the work from last week using peer review Respond to this reflection

Continue creating the final piece

Studios

research/ Experiment with Materials and Processes/ Reflect

MAKE FINAL PIECE

Relevant exhibition visits

Easter week 1 Mar 30—

Respond to research/ Experiment with Materials and Processes/ Reflect

MAKE FINAL PIECE

Reflect upon and evaluate the work from last week using peer review Respond to this reflection

Continue creating the final piece

(Studios not open) Home

Easter Week 2 Apr 6th

Respond to research/ Experiment with Materials and Processes/ Reflect

MAKE FINAL PIECE

Plan for the installation – assess the feasibility of any plans for display Think about equipment I will need Reflect on the progress of the work so far and at its final completed stage

Complete work on final piece Order any equipment I will need for the display

(Studios not open) Home

Week 28 Apr 13th

Resolve final project (complete by this week) Think about installation

Continue to consider ways of installing work (research artist’s techniques) Plan what equipment will need for installation and the show and order (beginning of the week to allow for plenty of time)

Decide what piece will be the final show piece Evaluate the final piece with a view to changing/refining it

Refine the final piece using feedback on the ‘completed outcome’ Begin to test ways of installing the work (projection, installation – images with objects)

Studios Library and home for research

Week 29 Apr 20—

Install work (Plan to finish this by Wednesday)

Research suitable installation techniques used by artists Plan time to install work

Week as part of contingency plan (in case things do not come back from the printer/need more time to get equipment e.g. projector/slide projector) Install work in exhibition space

Studios for practical work Library and home for research

Week 30 Apr 27- Deadline for submission: 4pm Apr 28th

Final evaluation and reflection on project

Continue to install work Studios

BIBLIOGRAPHY BOOKS

Dean, T. (2002) 12.10.02-21.12.02 Kunstverein für die Rheinlande und Westfalen, Düsseldorf 2002 [Exhibition catalogue].

Dudley, S. (2012) 'Encountering a Chinese horse: engaging with the thingness of things', in Dudley, S. (ed.) Museum Objects: Experiencing the Properties of Things. London: Routledge, pp. 1-15.

Enwezor, O. (2008) Archive Fever: Uses of the Document in Contemporary Art. New York: International Center of Photography.

Newman, M. (2001) 'Medium and event in the work of Tacita Dean', in Dean, T. Tacita Dean. London: Tate Gallery Publishing, pp. 24-27.

Sekula, A. (2002) 'Reading An Archive: Photography between Labour and Capital', in Wells, L. (ed.) The Photography Reader. London: Routledge, pp. 443-452.

Steedman, C. (2001) Dust. Manchester: Manchester University Press. White, L. (2008) Laura White: The Stuff of Images. Manchester: Castlefield

Gallery.

EXHIBITION VISITS

Fiona Banner Selects from the V-A-C Collection: Stamp out Photographie (2015) [Exhibition]. Whitechapel Gallery, London. 9 December 2014-8 March 2015.

Permanent Collection at Sir John Soane's Museum [Exhibition]. Sir John Soane's Museum, London.

MAGAZINE ARTICLES

Rosenburg, K. (2003) 'Dust Memories', Frieze Magazine, Issue 78, Available at: http://www.frieze.com/issue/review/dust_memories/ (Accessed: 2 February 2015).

INTERNET ARTICLES

Nichols, Chelsea. (2011) 'From the dusty corners of the museum...Cornelia Parker', The Museum of Ridiculously Interesting Things, 24 July. Available at: http://ridiculouslyinteresting.com/2011/07/24/from-the-dusty-corners-of-the- museum-part-two-cornelia-parker/ (Accessed: 3 February 2015).

Nichols, Chelsea. (2011) 'From the dusty corners of the museum...Klaus Pichler', The Museum of Ridiculously Interesting Things, 20 July. Available at:

http://ridiculouslyinteresting.com/2011/07/20/from-the-dusty-corners-of-the- museum-part-one-klaus-pichler/ (Accessed: 3 February 2015).

Romney, J. (2007) 'La Jetée: Unchained Melody', The Criterion Collection. Available at: www.criterion.com/current/posts/485-la-jetee-unchained- melody (Accessed: 3 February 2015).

IMAGES

Dean, T. (2010) The Friar's Doodle [Installation View]. Available at: http://www.museoreinasofia.es/en/exhibitions/tacita-dean-friars-doodle (Accessed: 4 February 2015).

White, L. (2014) Ally [Sculpture]. Available at: http://www.laura- white.co.uk/individual/ally-worker-and-assignee/# (Accessed: 4 February 2015).

White, L. (2014) Assignee [Sculpture]. Available at: http://www.laura- white.co.uk/individual/ally-worker-and-assignee/# (Accessed: 4 February 2015).

White, L. (2014) Attendant [Sculpture]. Available at: http://www.laura- white.co.uk/individual/attendant-fat-and-insider/ (Accessed: 4 February 2015).

White, L. (2015) Operator [Sculpture]. Available at: http://www.laura- white.co.uk/individual/principle-cooperator-and-operator/ (Accessed: 4 February 2015).

White, L. (2014) Temp [Sculpture]. Available at: http://www.laura- white.co.uk/individual/abettor-colleague-and-temp-2014/ (Accessed: 4 February 2015).

WEBSITE PAGES

Adrastus Collection (no date) Film acquisition: Tacita Dean, The Friar's Doodle. Available at: http://adrastuscollection.org/en/the-friars- doodle/ (Accessed: 4 February 2015).

Albright-Knox Art Gallery (no date) Tacita Dean: The Friar's Doodle. Available at: http://www.albrightknox.org/exhibitions/exhibition:09-27-2014-tacita-dean- the-friar-s-doodle/ (Accessed: 4 February 2015).

Marian Goodman Gallery (no date) Film acquisition: Tacita Dean, Fatigues. Available at: http://www.mariangoodman.com/exhibitions/2013-02-01_tacita- dean/ (Accessed: 4 February 2015).

Museo Reina Sofia (no date) Tacita Dean: The Friar's Doodle. Available at: http://www.museoreinasofia.es/en/exhibitions/tacita-dean-friars- doodle (Accessed: 4 February 2015).

Laura White (no date) Available at: http://www.laura- white.co.uk/about/statement/ (Accessed: 4 February 2015).