Abstract
Creativity and the visual arts is a description of an experimental art class conducted in New Zealand from 2003 to 2005. The programme was in stark contrast to mainstream curricula in terms of both teaching method and content. Firstly, it was taught in tandem by a painter and an art historian, whose intention was to seamlessly unite their different but related fields of expertise. Secondly, rather than maintaining separation between the various mediums (painting, sculpture, photography, drawing, etc.), they encouraged all mediums as per student needs. It was also expected that students would bring previous experiences into the studio and be enriched creatively in all future practices outside the class. The focus, above all, was on materials and processes and how they operated towards the success of finished work. The chapter also outlines the main activities (studio practice, reading, group critique) and the sources of inspiration for the course.
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Notes
- 1.
Buchloh then refers to the writings of Theodor Adorno, Max Horkheimer, and Guy Debord as seeming to “historicize the last fifty years of artistic production [demonstrating] how the autonomous spaces of cultural representation —spaces of subversion, resistance, critique , utopian aspiration—are gradually eroded, assimilated, or simply annihilated.” The Adorno/Horkheimer text he referred to was The dialectic of enlightenment, 1947, whilst that of Debord was The society of the spectacle, 1967.
- 2.
Krauss explored medium in a series of texts dating from the late 1990s, including A voyage to the North Sea (2000), New York, Thames & Hudson (this was previously a lecture on Marcel Broodthaers), Perpetual inventory (2010), Cambridge, Massachusetts, MIT Press, and Under blue cup (2011), Cambridge, Massachusetts, MIT Press.
- 3.
The seminal writings on this subject are by Rosalind Krauss and Yve-Alain Bois. See Picasso and Braque: A symposium (1992), New York, Museum of Modern Art, and also the prefaces written by Bois and Krauss in Art since 1900, modernism, antimodernism, postmodernism (2004).
- 4.
This work is illustrated in Bois and Krauss (1997), pp. 210–211.
- 5.
The exchanging of roles that occurred during the teaching of the masterclass has since continued, Peter Adsett writing a PhD at Canberra School of Art, Australian National University, while Mary Alice Lee undertook a course in printmaking at the School of Art, University of Tasmania.
References
Bois, Y.-A. (1990). Painting as model. Cambridge, MA: MIT Press.
Bois, Y.-A., & Krauss, R. (1997). Formless, A user’s guide. New York: Zone Books.
Clark, T. J., & Tuma, K., (2006). In conversation with T. J. Clark with Kathryn Tuma, Brooklyn rail, critical perspectives on arts, politics, and culture, New York, November 2nd. Retrieved January 21, 2018, from brooklynrail.org/2006/11/art
Foster, H., & Hughes, G. (Eds.). (2000). Richard Serra. Cambridge, MA: MIT Press.
Foster, H., Krauss, R., Bois, Y.-A., & Buchloh, B. (2004). Art since 1900, modernism, antimodernism, postmodernism. London: Thames & Hudson.
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Adsett, P., Lee, M.A. (2018). Creativity and the Visual Arts. In: Martin, L., Wilson, N. (eds) The Palgrave Handbook of Creativity at Work. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-77350-6_8
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DOI: https://doi.org/10.1007/978-3-319-77350-6_8
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