As we start talking about communicating with large numbers of people we have no choice but to look outside of the museum or classroom walls and beyond the exhibition as the primary mode of presentation.
An artist makes artworks, thinking hard about communicating through their chosen media. In addition to this behaviour, an artist-curator thinks technically about how, why, where and when artworks (or outputs) will be consumed by an audience.
Conceptual appropriateness’ is a personal judgement that takes a leaf out of the book of conceptual art. There is a clear refusal to default to traditional methods of production, a desire to find a shoe that fits.
Joy Shellard recounts growing up in the museum during WWII in a book entitled A Child of the Home Front. Anecdotes of her youth are set against the backdrop of not only war, but growing up in a museum.
When it comes to knowledge transfer, presentation and engagement it’s the translators, facilitators and organisers of the world that can provide the final pieces of the puzzle.
To formalise this idea, I distilled de Botton’s sentence into something visual, an artwork as a symbol. With the regal portrait prevalent in 17th century european art I decided to re-appropriate an etching of La Rochefoucauld, adding the blue bird (representing the Twitter logo) and the hand upon which it perches.
Self-directed research is concerned with things that grab your attention and the investigation of those leads through a personal curiosity or compulsion.