Writing about Your Work with Sue Rainsford
Rescheduled to Wed 15 Nov!
To Register Follow the Ticket Link.
As an artist, you will be required to write about your work for a variety of reasons including press releases, proposals and applications. Focusing on the artist statement, this session will equip participants with a text to work from, develop and adapt in the future.
Concisely conveying core elements of your practice is essential to promoting your work and ensuring its accessibility. Covering such topics as proposals, funding applications, and statements for press and marketing purposes, we will discuss the dos and don’ts in writing statements. Over the course of the day, participants will work in an interactive way with peer supported feedback, producing texts that succinctly deliver their concepts, approaches and methodologies.
While working toward developing a concise statement, this session will also explore writing as a dynamic and reflective tool. We will consider the more expansive, generative ways in which writing can serve an arts practice, operating within or alongside it. In discussing how participants might develop a long term relationship with writing that will serve their practice and its shifting demands as it develops over time, we will also cover various opportunities regarding the production of text in relation to an artwork or exhibition.
Sue Rainsford is a writer & researcher based in Dublin. Her practice is concerned with hybrid texts and radical or chronic experience, the intersection between visual and literary arts practices, and explicit fusions of embodiment and critical inquiry. She is a graduate of Trinity College, IADT, and Bennington College, Vermont, editor of the limited edition publication some mark made, and recipient of the VAI Critical Writing Award 2016/17. Current projects include Entirely hollow aside from the dark, a psycho-acoustic installation made in collaboration with Alan James Burns. In September 2017, she and Bridget O’Gorman will commence the Freud Project Residency at IMMA, responding to Lucian Freud’s assertion ‘I want the paint to feel like flesh.’
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