April 1st Supervisory meeting
Dr Michael Bowdidge and I started the meeting, Dr. Anya Lewin joined us later. My first question to Michael was about the procedure and calendar for RDC2. The next question was about Dr. Laura Gonzalez’s feedback for RDC1 and her specific advice on context. In her own words:
Veronica’s RDC1 submission forms a coherent project. A particular area of good practice is the foregrounding of the artwork within the enquiry. Although the project is a little sketchy at this stage in terms of how question, context and methodology tie in together, it has interesting potential with regards to its impact for the researcher and the community in which this work will be located
The background section needs to contain less description and more analysis of the external context in which the research takes place. In particular this section needs a much better articulation of the artistic context in which it is located. What other artists is Veronica looking at and why? What is their relation to the research questions asked? I think this section contains too much on method at the expense of context.
During the conversation with both Michael and Anya they advised me to do the following:
1- To develop a research map on my studio office wall.
2- To write a context reference paper to have a more clear research position.
I will start here with context:
In the context part of my RDC1 I wrote about Yoko Ono and Marina Abramovic. I also wrote about Joseph Beuys’s ideas on “Social Sculpture” and my interests not only in his theory but also in his work as an artist with pedagogical approaches. Although I did not write about Beuys directly in the context section, his work also serves as context for mine.
Artists as context for my research practice:
Yoko Ono, Marina Abramovic, Joseph Beuys, Peggy Phelan, John Newling, Pablo Helguera, Paul Ramirez Jonas, France Morin “The quiet in the Land”, Tania Bruguera ‘Catedra arte de conducta”, Thomas Hirschhorn...