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PostPosted: Thu Sep 06, 2007 2:06 pm 
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with the fake degress i say we get a copy of maybe magdas (ryan doi you have a number for magda?)? maybe i can find another from somebody else.....i think we blank the name of the degree so we can fill "BA (hons) Sculpture" and there name. we could write this on with a quill?


i will post any emails from the kunstsubmission email.... and am also on the case with "creaming the crop".


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PostPosted: Thu Sep 06, 2007 6:23 pm 
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the only number i have for M. is in the NM section. i tried to call but she didn't answer.

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PostPosted: Fri Sep 07, 2007 4:48 pm 
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right well i have info for lucy mackenzie, mike bowdidge and will hopefully get something from ola rek tomorrow.

what slipped my mind, however, is that before that we have the two cryptic shows "sweet shop" and "potlatch" which we have no info or contacts for.

maybe we could just say, "these shows must be seen to be believed"...

or does anyone have any idea who is doing them?


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PostPosted: Fri Sep 07, 2007 5:19 pm 
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i was going to only do those shows , but some info on sweetshop and potlatch would not go a miss , its easy to make a poster for these two ,


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PostPosted: Sun Sep 09, 2007 12:09 am 
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Also, for the stall, remember how in freshers week you get bombarded with freebies that all end up in the bin - things like badges&pens are more likely to be ignored than booklets&party invites. ALSO if someone makes a flier for the event (if you're all still into that) I can distribute it at Leith school of Art because I know people there, I can contact Telford and Stevenson as well. Napier does varieties of design courses and their freshers week starts on the 24th. So.


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PostPosted: Sun Sep 09, 2007 9:11 am 
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Yeah that is a good idea- Martin can you do a flier as well?

are we doing a seperate event? If so we could project a slideshow of snapshots of people recieving their fake degrees. might be funny.

below is the artist info for the three shows we know about.

ok here goes.


Drawing on the imagery of nature and folklore, Ola Rek's installations evoke the tranquil yet uncanny atmosphere of a woodland setting. For this show, the remains of trees and plants will be relocated within the gallery to create a contained bubble of organic forms. In forcing these natural artefacts to exist outwith their usual environment Rek simultaneously forces the gallery patrons to reconsider their own.

Mike Bowdidge uses found objects to extemporise large assemblages, structures which evolve from a direct interaction with the materials at hand. In "Lost and Found" the Artist sets out on a series of unexpected artistic departures and arrivals, which at most may shed some dim light on the reasons for making the journey in the first place

Lucy Macdonald and Gregory Barrow, Both undergraduate painters based in Glasgow, use varied platforms to explore relationships between painting, the image and the real. This investigation comes about through the deliberate distortion and disruption of both image and formal convention.


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PostPosted: Sun Sep 09, 2007 6:53 pm 
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This is from current issue of modern painter , which be of interest to discussion about art schools

http://www.modernpainters.co.uk/artschools/
Quote:
Rethinking Art Education


Introduction by Steven Henry Madoff

In recent years the role of the art school has moved to a position of prominence, pushed there by the encroachments of an aggressive marketplace and the professionalization of every aspect of the artworld, from the dominance of gallery and museum brands, to the cultural tourism of art fairs and biennials, to today's art itself now so often created precisely for the scale, spectacle, and capitalization of these events.

Under such pressures, art education has become the subject of widening debate, raising a range of issues and questions. To whom should the academy be responsible? Presumably to its students and faculty. But what about to its local community, as a social stakeholder? To the global community, on which it makes its mark as a moral authority or as a talent factory? Should the art school be a research center that enlightens conceptual practices while de-emphasizing skills, or a course of study in entrepreneurship, presentation, strategic thinking, and other matters to prepare young artists for the ruthlessness of the market? Or is art school in the 21st century simply the physical surrogate of MySpace and YouTube—the spawning ground as social network?

Of course there are numerous ways to answer these questions and many others—and a range of conferences and publications attests to this. As an outgrowth of my involvement with a series of international symposia sponsored by the Anaphiel Foundation in Miami, I recently brought together two of the most distinguished artists and art teachers alive today, John Baldessari and Michael Craig-Martin. Their conversation captures some essential lessons from their experiences over 30 years at CalArts and UCLA, and Goldsmiths College in London, respectively. And in their voices we hear the seriousness, wisdom of hindsight, and risible memories of two old pros whose improvisations and practicality still shed light on the issues facing art schools now. Lane Relyea lays out many of these with vehement clarity (and more than a few moments of j'accuse), describing exactly what is at stake in this continuing conversation, and what alternatives are in play to rehabilitate the noble, broken, and endlessly malleable legacy of art education. One of the more interesting questions concerns the very nature of the academy: Do we even need this centuries-old institution anymore? Claire Bishop suggests that the very concept of the art school is being eroded by new initiatives that artists and collectives are establishing—initiatives as fluid, itinerant, and potentially expansive as the artworld itself.


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PostPosted: Sat Sep 15, 2007 9:41 pm 
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check this flyer/poster

http://theforest.org.uk/bb/viewtopic.php?p=14120#14120


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PostPosted: Sat Sep 15, 2007 10:25 pm 
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cool ,


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PostPosted: Sun Sep 16, 2007 10:09 am 
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so stuff to discuss at the meeting;

any progress on getting a replica degree?

are we holding a party/event?

if so how are we promoting it/ need to do it soon

printing out booklets, posters flyers etc.

going ahead with the masonic handshake etc?

any more?


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PostPosted: Sun Sep 16, 2007 10:11 am 
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maybe it would be cool to write a bit about "the institution" as per martin's quote above and include it in the booklet or seperate? also details alternatives to traditional art school education/ its relevance in a contemporary scene which constantly moves further away from what art schools are all about.

what do people think. happy to write it.


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PostPosted: Sun Sep 16, 2007 11:33 am 
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Ive got a wee bit to do on the booklet , i get it posted up on Monday .

I like the idea of using the text from modern painter ,maybe a poster . it a shame i can get the rest of articles up too .Its good food for thought
I think it relates to the forest position as a arts center and what we are offering to art students as an alternative or as i would like to say "the difference" in that its self funded and answers to itself and has an audacity to survive .WHere other venues are at the mercy of patrons or the Scottish art council .Within these venues the issues of social change them self are played out for example Chad McCail exhibition at the fruit market , which for me the ideas within the work itself are only representation of the ideals rather then a manifestation of them , which i would say that the forest is. For the ideas are embodied with the place , its a work in progress , or as deleuze and Guatttari wrote ," Its not enough to say "long live the multiple" "
Image


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PostPosted: Sun Sep 16, 2007 7:10 pm 
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lets meet.


i am on it with the fake degrees.


priniting wise if it needs to be colour we can use the eca printers for 20p a sheet. maybe copy cat can do it better but i think not. i can pint some of the flyers that i made at eca. i will fit 4 on a sheet and they will be sweet colour (5p each)

i will wait for more oks

x


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PostPosted: Sun Sep 16, 2007 9:42 pm 
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i would like to meet , but am working thru the day all week , but i do finish at 3.30 so am available after that ,

i like the poster bill , landscape eh ! paradigm shift . would be good to keep the colour , do what you need to with them .

ill have the booklet done tomorrow ,


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PostPosted: Mon Sep 17, 2007 9:20 pm 
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heres the final draft for the booklet , not usre how we are going to get it printed out , but here goes


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PostPosted: Tue Sep 18, 2007 9:06 am 
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cool looks good.

well it doesn't look like we are going to be able to meet this week?

maybe we will just have to hash out what needs to be done on this thread?


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PostPosted: Tue Sep 18, 2007 9:22 am 
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I can bring it to Copy Cat or the ECA, if you like?

we need a color printer, huh?
r

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PostPosted: Tue Sep 18, 2007 10:47 am 
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awesome booklet and very nice text indeed. one of the best texts ever written on a forest thing i think..

i like what you put in your post too martin, describing the idea of 'the difference', and the piece in many ways never ending and the process of creation being more important.

Chad McCail is very fucking good, in forests first ever exhibition, we had a small piece by him in quite different style to those you post there, delivering a strange morality tale/ or maybe a kind of symobolic representation of a (our?) society, that was very amazing/incomprehensible to me at the time.

what does 'long live the multiple' mean? is that a reference to warhol and factory? and making money?

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PostPosted: Tue Sep 18, 2007 11:54 am 
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Grammar on last page - the last sentence needs a "and" inserted.

Take it as a compliment thats the only thing wrong I could find with it :-)


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PostPosted: Tue Sep 18, 2007 12:38 pm 
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thanks

I like chads work alot , I thought his work would be cool at forest and i guess it has been . he has quite an interesting project combining his work "spring" with computer animation and using free software .
http://www.spring-alpha.org/pages.php?content=story

their is also an interesting essay marrying social activism , free software movement and art , by francis mckee
http://www.spring-alpha.org/pages.php?content=mod_01_talk#francis

the image below is the work of chads that i was trying to find for the last post > when chad did a lecture at greys , he talked about the tension about hanging work like this in a gallery with curators , hanging staff and somebody else cleaning the toilet . the gallery system paying lip service to the work .

Image


In regards to the long live the muliply , am not so sure about the multply. but my understanding of it is like playing a record at any speed you like , rather than sticking to the convention of playing it at 33 1/2 in that things has mulitply of uses rather than the prescribed normal use ,i like to play stuff really slow untill its just sludge ,why not i think !

an excerpt or the essay i nicked the quote from is here

http://www.gseis.ucla.edu/courses/ed253a/kellner/deleuze.html

I was more interested in the part "it not enough to say (insert slogan) like the paying lip service to chads work ,

martin


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PostPosted: Tue Sep 18, 2007 12:39 pm 
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James wrote:
Grammar on last page - the last sentence needs a "and" inserted.

Take it as a compliment thats the only thing wrong I could find with it :-)


ill fix that tonight


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PostPosted: Tue Sep 18, 2007 8:55 pm 
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ok ive fix it :D


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PostPosted: Tue Sep 18, 2007 9:01 pm 
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was the artist info not going into the booklet? or was it meant to go on a seperate thing?


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PostPosted: Tue Sep 18, 2007 9:26 pm 
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am going to do the program as a flyer , rather then put it in the booklet figuring it will date the booklet ,

steve what your feeling on the derrida use of the word differance , am messing about with the idea of it in a poster . it was a mistake by me ,


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PostPosted: Wed Sep 19, 2007 7:25 am 
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the poster is smart. I like how usually someone will put a pristine geometric shape central and have the organic, irregular shapes around it- representing that amid the crazyness of our perceptions there is an ultimate truth, but here there is a perfect geometric grid surrounding an irrational irregularity, which almost looks like a missing piece or a gap, which seems to fit in nicely with my experience of "differance"



as far as my knowledge extends differance is a play on the fact that the the french verb for differ is the same as for defer.

it's quite a clever play on words because it points out that signs do not conjour up something in themselves, i.e have an interior essential meaning of their own, rather, meaning itself is produced by one sign's differEnce form another. Hence cat only refers to "cat" because it is not "cap" or "sat", to use the typical example.

So, if meaning is dependant on the context of the signification system and is not essential or unitary and not contained within the sign itself. In this way, signs are constantly deferring/postponing their meaning to other signs which in turn are constantly deferring etc. This process is what prevents us from establishing a non- arbitrary link between language and things, and hence arresting the experience of a total and unitary Real.

This is the process that Derrida called Differance (i think the a has an accent btw.)

because differAnce differs from differEnce, and dEfferance, but is entirely dependant on them for meaning, hence defers to them also.


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PostPosted: Thu Sep 20, 2007 9:00 pm 
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ok the amended version should be changed from:
Quote:
the chance to exhibit and develop their work free from commission.

to

"the chance to exhibit and develop their work without a commission charged on sales."


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PostPosted: Thu Sep 20, 2007 9:13 pm 
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howdy

this is hopefully the final one , with the amendments above


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PostPosted: Thu Sep 20, 2007 9:16 pm 
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i was just thinking bill was going to do them today , doh


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PostPosted: Sat Sep 22, 2007 5:44 pm 
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yo i went to repro which was shut. should be open any time before 2pm. i can do it on wednesday but if anyone can do the booklets printing before that would probs be safest.


anyt5hing else?


peace


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PostPosted: Tue Sep 25, 2007 12:20 pm 
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ryan is on this.
r

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PostPosted: Wed Sep 26, 2007 9:40 am 
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80 flyers for the thing on the 3rd Oct are in the total kunst pidgeon hole for the ECA freshers fair, thanks.

I can come to ECA and help on fri but not thu, see you then.


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PostPosted: Wed Sep 26, 2007 10:40 am 
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When meeting up tomorrow ?


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PostPosted: Wed Sep 26, 2007 4:05 pm 
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9.30 wee red bar at eca.

peace out.


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PostPosted: Wed Sep 26, 2007 6:21 pm 
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roger


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PostPosted: Wed Sep 26, 2007 7:10 pm 
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cool see yiz then.


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PostPosted: Tue Aug 05, 2008 8:32 pm 
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we ve been asked to do this again this year ! the application is in the post . what we gonna do this time !

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PostPosted: Thu Aug 07, 2008 7:07 pm 
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yeah lets do it again do we know the date?


maybe we should bring the free shop with us.

or we could dress in art crowd camoflage.

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PostPosted: Thu Aug 07, 2008 7:22 pm 
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no date as of yet , we need to fill out the form , i would hope to be down stairs this time

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PostPosted: Sun Aug 10, 2008 9:11 pm 
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the form is in tk box , i like the idea of the free shop , we could also do t shirts for it . tkmaxxx

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PostPosted: Mon Aug 11, 2008 7:28 pm 
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i think it needs to be downstairs or not at all. jessie who used to team art with the art team is head of the college this year. she is cool so i'm sure if you speak to her it'll get sorted.


we still got them degrees kicking about?

what else?
i have an image which is of a bronze caste letter F which i made to look like the side entrance edinburgh collage of art sign. it looks funny and points fun at the collage.might be good. also i now have a degree from them we could copy real good this time if we want.


i felt that generally this event was fairly tame last year, not that it needs to be, but everyone there was pretty bored looking. maybe if at least we take or do something to engage the other people there who are showing off their stuff? hiring paintballing stuff for example.


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PostPosted: Tue Aug 12, 2008 11:20 am 
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i think we defo need to be downstairs , it was shit last time being up the stairs .although we made the most of it

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PostPosted: Fri Aug 15, 2008 2:08 pm 
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Location: In the place, with everybody...
Personally I think we should all dress up as Tr*cey Em*n - i.e. flip-flops, bikinis, aprons, paint brushes and curly wigs (see the pic in the EAF book)... what we should do then apart from pull THAT face is beyond me though... encourage them to do the same perhaps?

And no, it wouldn't be 'a drag' (*sigh*)...

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PostPosted: Fri Aug 15, 2008 6:05 pm 
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as a fellow kentish lass i'm not sure i agree with this.....there is nothing wrong with the apron / flip flop look!
i prefer smocks and long beads with strings attached to my glasses

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PostPosted: Fri Aug 15, 2008 10:45 pm 
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I never said there was anything wrong with it - on the contrary I think it is more than worthy of imitation! I'm totally (well, almost totally) serious about this...

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PostPosted: Thu Aug 21, 2008 9:05 pm 
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regarding the raffle prize i think it should be the back catalogue of the gallery magazine that begins with that l and i don't want to write without the line through it and get told off!! how do you do that scoring through thing on this?
that is all i have to say on the matter

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PostPosted: Fri Aug 22, 2008 12:26 am 
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You use the s (for strike-through) button at the end.


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PostPosted: Fri Aug 22, 2008 1:06 am 
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Raffle prize? I'm totally lost now....

I wrote Lxxxx the other day without a strike-through and so far i have lived to tell the ta

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PostPosted: Fri Aug 22, 2008 7:06 am 
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we have been asked to donate a raffle prize too !

hey we have a button

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PostPosted: Fri Aug 22, 2008 12:13 pm 
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logos
nice one swithun

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PostPosted: Fri Aug 22, 2008 12:14 pm 
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logos

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