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fbtwitterlinkedinvimeoflicker grey 14rssslideshare1
Kane, Nina R.
Languages: English
Types: Unknown
Subjects: NX
The session discusses the role of the life-model in the teaching of life-drawing, and notes her/his conventional marginalisation in making images and in teaching art. Frequently regarded as an abject and monstrous figure whose body and presence is regulated by the tutor and life-drawers, the life-model is a naked, roving, chattering shape-shifter. Taming and containing the monstrous model is a key function of the tutor. But what happens when the life-model teaches the class? This paper discusses findings from The Art of the Life-Model at Leeds Art Gallery/ Leeds College of Art, 2002-2009 noting the shape-shifting benefits of model-led pedagogy.\ud \ud This paper was first presented at the HEA Arts & Humanities Annual Conference 2014 on the 4th June 2014. The conference was Heroes and Monsters: extra-ordinary tales of teaching and learning in the Arts and Humanities' and was held at The Lowry, Salford Quays, UK.\ud \ud Errata - PLEASE NOTE: There is a formatting error on Appendix 5, also some of the photos may shift from their original pages when downloaded. Please ensure there are no photographs printed out at the top of the appendices' handouts if you are using them as teaching materials. The box which is out of synch on Appendix 5 should read 'Verbal Direction. Tutor / Lead artist tells the model how to place their body.' There is a correctly-formatted copy of this spider graph in the appendices of the 2007 N. Kane, 'Embodying the Other: Pedagogic and Performative Strategies Used in The Art of the Life-Model Course 2002-2007' report, also available to download from the University of Huddersfield Repository.
  • The results below are discovered through our pilot algorithms. Let us know how we are doing!

    • 1. Oct 2002 - June 2006: Community arts 'drop‐in'.  
    • 2. Oct 2006 - July 2008: Modular course of three 10‐week terms; continuous  attendance req'd.
    • 3. August 2008 - July 2010: Fortnightly model‐led performance exchanges with lifedrawers and general public in Leeds Art Gallery spaces. 
    • 4. August  2010-Dec  2012:  Renamed  Modelworks.  Model‐led  performances  and  workshops, artist‐led sessions and community exhibitions  2. The model takes up the pose, and the artists arrange themselves around her /him. It  is suggested the artists work on A2 size, cartridge or sugar paper. 
    • 4. Once the 30 minutes is up, the artists attach an A4 sheet to their picture and spend a  moment writing about the choices they've made and what they hope the future  direction of the work will be. This is the 'log' of the work. 
    • 5. The artists return the sketch, with their A4 'log' sheet attached to the tutor.  
    • 6. At the following session, the tutor presents the sketches with the A4 log attached  face down so the image cannot be seen. The artists choose one at random - they  have to work with whichever one they pick. 
    • 7. The model resumes the pose s/he took previously. The pose must be accurate. The  model can however choose to add or remove drapes and coloured pieces to vary the  composition of the sitting session by session. The artists arrange themselves around  her / him, using their chosen drawing as a guide. When they find the viewpoint the  work was made from, they continue working on the drawing for 30 minutes,  progressing the work as they see fit. They can choose to read, follow or ignore what  is written on the log sheet.  
    • 8. Once the 30 minutes is up, the artist adds their ideas and hopes for the direction of  the work to the log sheet and again returns the A2 drawing and log to the tutor for  the following session when another artist will 'inherit' it. 
    • 9. The process lasts for as many sessions as there are in the module / project. The aim  is for the artists to work with whichever picture they 'inherit' and commit to the  challenge of working on a piece others have started, whilst making confident  decisions of their own to progress the work using materials and marks as they see fit. 
    • 10. The finished pieces are collectively produced and of indeterminate ownership. The  model's role, however, is consistent. S/he occupies the 'patron' position and is the  'northern star' (point of constancy) in this exercise.    3. The model positions her/himself inside the box; the artists position  themselves outside. Invite each to peer in and out through the holes.   4.  Artists  to  choose  an  initial  drawing  position.  Model  to  choose  an  initial posing position. Each is free to move and roam as they want in  their allotted spheres. All are welcome to eat, talk, sing, dance, etc.  n o uuw d p e s t o p s .To o e t r
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