Assessment guide

Plan for TUESDAY: 
Lev 4/1 Crit start at 2pm  20 mins each
Assessment meeting for all lev 4  at  4pm

Lev 4/1 Bring in a sample only of previous work- as i have logged a lot of it at this stage.

Pin up your FINAL 3 large film prints triptych - and any other large ones also if room

Final three for the wall tuesday and all film back up work 

*Judith will need to bring in all her work in for me to award an accurate grade as planned

*No need for your research files etc until summative assessment
 The plan is that you walk home on tuesday eve knowing what grade you are at as a guide ( formative ) grade for the UNIT so far.

*any grade i give tuesday can go up or down again in Jan

Summative Assessment 

Preparation for January summative assessments - still plenty of time 

I will award you a formative grade in the final December critique - a guide to where you stand 
We expect quite a substantial body of work for your summative assessments - especially as it is an assessment focused on your engagement, output and experimentation. The learning outcomes and assessment criteria are in your unit books for visual langauge. Look at your work so far and if you feel it is thin in terms of output and engagement with the brief ( object  /respond ) then be more prolific this month to catch up. A mark over 40% is a pass and acceptable to me at this stage as most of you are new to H.E Art expectations and H.E assessment standards at Level 4.

Summative Assessment expectation for hand in is as follows

1. A body of work / Portfolio of all your visual work 
Photography contact sheets -  & selected best prints A3 mounted 
All drawings and Mixed Media pieces 
All roughs . sketchbooks / notebooks

2. Collate all your internet and reading research into files - a learning journal,  you should have been printing out  samples of contextual  'looking' and contextual background to your chosen subject and era / genre / context and how it relates to your own making. 

Make a front contents page for file- and list of books read, films , exhibitions seen etc etc 

3. Essay ; final summative hand in

Unit X reading and some planning will be set for over the holiday but this is optional planning only - the introduction of the Unit and the brief is in the new term 


Anamnesis The German experience: 

Dresden 1945 after the Allied bombing and the resulting firestorm

Anamnesis The German experience: 

'In the closing stages of World War Two, Adolf Hitler and a number of leading Nazis committed suicide, while others fled abroad, thus denying their victims the satisfaction of any natural or judicial redress. The war had seen terrible genocide committed by the Nazis against European Jewry, gypsies and dissenting religious and social leaders. These victims were made ‘other’ and, deemed superfluous, were exterminated. So after the war, many issues were left unresolved, the victims’ recourse to reparation, redress and compensation taking much longer than had the punishment of those of the perpetrators who were punished. Germany’s main act of contrition was to be largely through financing the construction of industry for the newly created state of
Israel. Any intervention such as a debriefing of the German public, as catharsis or panacea to the wounded collective memory, was not undertaken. Individual stories were not heard and personal narratives were lost. The victims did not have the opportunity to confront the guilty.This implied that they could not reintegrate with society in a shedding of their ‘otherness’. Those who were neither perpetrators nor victims were unable to deny their support of, or demonstrate their opposition to, the Nazi regime. Thus, the German people and their descendants became in a sense ‘post-other’ to themselves, and without forgiveness there could be no closure.'  ( extract from the essay Anamnesis written by and with thanks to Ian Redelinghüys and Ingrid Stevens )

Music and Post WW2 Germany historical documentary -  must watch: http://www.icrates.org/bbc-documentary-krautrock-the-rebirth-of-germany/

Brian Eno Imaginary Landscapes

for music sound and sense of place watch

                                             Lev 4/1 Project    summative deadline Jan 013

      Painter and Film Director Julian schnabel's Intro credits for the Film ' Diving      bell & the butterfly' 

Tuesday Meeting 1pm Lev 4/1

Imply & Emote 

Meeting to brief your New task for B.A Creative Practice Level 4/1 

Focussing on your strengths so far identified, I want you to progress your work by producing a set of visual RESPONSES to  the sequential work below - and for December display in the foyer a final set of large scale trio of images

 You can focus on your own current experiments from this Visual Langauge Unit or 

In dialogue with lecturer Use any media - Digital, Painting Print mixed media, Drawing Photograph 3d pieces - textiles - etc 

Outcome : Large Prints A0 to be made from best experimental work - using A1 Print bureau 

The Claim         Michael Winterbottom ( Michael Nyman )
Sans Solei       Chris Marker
Stardust memories   Woody Allen
A Single  Man       Tom Ford
The Debt          John Madden  
Drive                 Nicolas winding refn
Wings of Desire  Wim Wenders   
Paris Texas         Wim Wenders ( music Ry Cooder )  
The Return           Andrey Zvyagintsev
Happy People     Werner Herzog

The set films hold and evoke a multitude of emotive subtle and implicit content 
joie de vivre, Fortitude, Displacement Paternity Metaphysics Security Insecurity Remembrance Loss Love Mortality Guilt Gender Transition Retribution Transience etc 

The image must communicate and emote the themes in the films and complement the Film music also in terms of style  ( listen to soundtracks - some by Nyman ( the Claim ) and Glass 

*Remember, You have total license to develop your work into your own personal translations and responses using the films as starting points for inspiration and content.

'A Simple Man' by Tom Ford from Christopher Isherwood's novel is a film about the importance of the seemingly simple or smaller moments in life.

Visualise the themes via key words - make a word list and use a thesaurus - think laterally not literally 

Please attempt to watch as many of the films in the next 14 days ? - and you must choose at least two from the following to work from;

Our MMU Library,  City Library, Play.com, amazon uk, ebay and the high st shop CeX sell some of these for £3.00 


There will be a formal Pin up peer critique deadline for end of Term mid december ( a formative assessment guide grade will be given by me ) this project will then run into January and summative FINAL assessment hand is in January



How foolish of me to believe that it would be that easy.
I had confused the appearances of trees and automobiles,
and people with reality itself, and believed that
a photograph of these appearances to be a photograph
of it. It is a melancholy truth that I will
never able able to photograph it and can only fail.
I am a reflection photographing other reflections
within a reflection. To photograph reality
is to photograph nothing.  

by D. Michels 


Jean Bauby's 'Scaphandre et le papillon'  ( Diving Bell & Butterfly ) The real 'locked in' man and his book  



D Y S T O P I A N  novels 

Update: Anne may be coming in to give you a small talk on her novel and dystopian works in general 

Level 4/1 Creative Practice Contextual Essay ; Lecturer; Mack Manning
*Please note this set essay brief is initially for My Mature Students in Cavendish building NOT for Macks Fine Art Holden / Righton Art History Contextual seminar group - though it is all helpful and inspirational so keep reading and you can do this one also if you prefer to ?

Choose format from:

Option Task: 1 circa 2k word count 

Using your notes for the research on Einfuhlung and Duende incorporate and reference them in a 2k responsive essay on the Film 'Wings of Desire' key issues to address are ... What are the emotional and philosophical themes of the film and the protagonists  and why is the location and geography so important ? 

Naturally do not purely describe what happens in the film - this is descriptive - we need insight and reflection and reponses - only 'describe' narrative events when it is to illustrate a view or insight - and feeling .  Blog it and images please - take or make your own images only ... no found images aloud this time 

OR ...  Option Task 2. Utilizing your previous notes write Two separate pieces 1k each - response to the Film and another on your Einfuhlung / Duende insights - post on blog and illustrate with images 

Consider this quote from the late great Chris marker ( we will be looking at his work in December )

We have discussed the instinct factor(and you are reading Dr Winston's book )Building on your work so far this term consider the following for your essay.

Also read about Anselm Kieffer and Boltanki here -  print this PDF off please; The German experience: Anselm Kiefer and Chris Boltanski


Anselm Kiefer
Unfruchtbare Landschaften, 1969 
Black-and -white photographs, surgical instruments and graphite on bound cardboard
36 x 25 x 4.5 cm, 14 pages

Auszug aus Aegypten (Departure from Egypt)

Anselm Kiefer (German, born 1945)

(1984). Synthetic polymer paint, charcoal, and string on cut-and-pasted gelatin silver on board, 43 1/8 x 33 1/2" (109.5 x 85 cm) (irreg). Gift of the Denise and Andrew Saul Fund. © 2012 Anselm Kiefer


Anamnesis is a very old philosophical idea conceived originally by PLATO that humans possess knowledge from past incarnations and that learning consists of rediscovering that knowledge within us.It has since become a medical term for a patients recollections



A highly original artist who led the way for many other women (and men) to address and take ownership of issues of the self and convey transformative experience in their work.'in communion with ones self' note that I quote Chris Marker and my seminar self.
In the 1980's I visited one of her early shows in London, it was very memorable in imagery and content. Her weight of subject made with humility and humor ( mm)

A recent show at SPACE to celebrate her life and work

SPENCE, Jo, « Transformations 2 », 1985, Creative Camera n°249, The Portraitive-Self in Context, september 1985


Always Look In The Rear View Mirror


I often make driving ( Car ) analogies to you all ..... a favorite is the rear view mirror one - that in order to progress onwards we also have to review the rear... to keep an eye on it - on what we have passed - what has gone before and also what may be following us more closely than we would like - and also what unwanted matter may have attached itself along the way ? This is a good methodology to apply for ones self - but in general terms it also applies to us collectively as 'a people' - or race ( human )

*film tip for my CP lev 4 & 5 students

This book of work above ' a military memoir' by D. Michals the photographer will be of interest for your creative work in Visual Language and your research across all our areas.

above and below d. michals ( research michals work generally )

'The Illuminated man'  D.Michals  

In this classic Cindy Sherman self portrait below Is this Woman looking forward or back - what is the possible narrative here ?
Its success as an image is in its ambiguity and its resonance - its dream like state - it arouses emotion, instinct and memory that will be unique to each viewer and reader, Are you a voyeur or is she aware of the lens ?

Also research Peter Doig's work and writings ( Doig inspired by Edvard Munch ) 

  and David R Newton @http://www.hiveprojects.org/exhibitions/archive/copenhagen/

Also the De Botton Book for my CP's and Lev 4 Fine Art ( chapter on Hopper )