Collectively titled "OU Love Story"
Thursday, August 30, 2012
Description class Collaborative Movie
Collectively titled "OU Love Story"
Saturday, August 25, 2012
Sentences on Conceptual Art
by Sol Lewitt
- Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.
- Rational judgements repeat rational judgements.
- Irrational judgements lead to new experience.
- Formal art is essentially rational.
- Irrational thoughts should be followed absolutely and logically.
- If the artist changes his mind midway through the execution of the piece he compromises the result and repeats past results.
- The artist's will is secondary to the process he initiates from idea to completion. His wilfulness may only be ego.
- When words such as painting and sculpture are used, they connote a whole tradition and imply a consequent acceptance of this tradition, thus placing limitations on the artist who would be reluctant to make art that goes beyond the limitations.
- The concept and idea are different. The former implies a general direction while the latter is the component. Ideas implement the concept.
- Ideas can be works of art; they are in a chain of development that may eventually find some form. All ideas need not be made physical.
- Ideas do not necessarily proceed in logical order. They may set one off in unexpected directions, but an idea must necessarily be completed in the mind before the next one is formed.
- For each work of art that becomes physical there are many variations that do not.
- A work of art may be understood as a conductor from the artist's mind to the viewer's. But it may never reach the viewer, or it may never leave the artist's mind.
- The words of one artist to another may induce an idea chain, if they share the same concept.
- Since no form is intrinsically superior to another, the artist may use any form, from an expression of words (written or spoken) to physical reality, equally.
- If words are used, and they proceed from ideas about art, then they are art and not literature; numbers are not mathematics.
- All ideas are art if they are concerned with art and fall within the conventions of art.
- One usually understands the art of the past by applying the convention of the present, thus misunderstanding the art of the past.
- The conventions of art are altered by works of art.
- Successful art changes our understanding of the conventions by altering our perceptions.
- Perception of ideas leads to new ideas.
- The artist cannot imagine his art, and cannot perceive it until it is complete.
- The artist may misperceive (understand it differently from the artist) a work of art but still be set off in his own chain of thought by that misconstrual.
- Perception is subjective.
- The artist may not necessarily understand his own art. His perception is neither better nor worse than that of others.
- An artist may perceive the art of others better than his own.
- The concept of a work of art may involve the matter of the piece or the process in which it is made.
- Once the idea of the piece is established in the artist's mind and the final form is decided, the process is carried out blindly. There are many side effects that the artist cannot imagine. These may be used as ideas for new works.
- The process is mechanical and should not be tampered with. It should run its course.
- There are many elements involved in a work of art. The most important are the most obvious.
- If an artist uses the same form in a group of works, and changes the material, one would assume the artist's concept involved the material.
- Banal ideas cannot be rescued by beautiful execution.
- It is difficult to bungle a good idea.
- When an artist learns his craft too well he makes slick art.
- These sentences comment on art, but are not art.
First published in 0-9 (New York), 1969, and Art-Language (England), May 1969
Description Syllabus Fall 2012
Peter Callesen, Holding On To Myself, 2006Description |
Course #: 1200 Section #: 106 Credit Hours: 4
Location:
Seigfred Hall room 516
Schedule:
Tuesday and Thursday 6pm- 8:50pm
Instructor: Adjunct Professor Courtney Kessel
Contact: courtney@courtneykessel.com, 412.951.2236 (cell)
Office: Room
440 Seigfred Hall Hours: Tuesday 11am-12pm and by appointment
All descriptions contain assumptions and parameters both those physically grounded with the optical apparatus of the body and those mediated by culture or technology whether working with the eye and charcoal on paper or numerical data from the web a point of view is present and exploited to create a convincing description of the subject of the artist's gaze. Descriptions indigenous to the body and those resulting from constructs should be applied throughout the course.
All descriptions contain assumptions and parameters both those physically grounded with the optical apparatus of the body and those mediated by culture or technology whether working with the eye and charcoal on paper or numerical data from the web a point of view is present and exploited to create a convincing description of the subject of the artist's gaze. Descriptions indigenous to the body and those resulting from constructs should be applied throughout the course.
Egon Schiele, Self-portrait Wearing a Shirt, 1910 |
CATALOGUE COURSE
DESCRIPTION:
Description
builds skills in drawing, image making, three-dimensional modeling, and data
mapping in the consideration of and making of art and design. This is a
cross-disciplinary studio art foundations course emphasizing how similar
concerns and principles can be applied to a variety of forms, materials, and
traditions. Students will gain experience and direct knowledge from hands-on
exploration through a variety of ways of thinking about and applying
description.
INSTRUCTOR DESCRIPTION:
This course will be organized around a series of projects that relate to lectures, reading assignments, and demonstrations. A large range of skills will be developed including, but not limited to, drawing and data collection, research and application of research, 2D, 3D, & 4D projects, Individual conceptual and artistic development, and the use of the critique as a tool for understanding how the work is working.
TEXTS/READINGS:
There will be
no required textbooks, but readings including, articles, essays, pdfs, and web pages, will be determined by the professor. Be sure to check the blog daily for current and new reading assignments.
Students are expected to check blog daily and specifically before class times for periodic changes, updates, and due dates.
OUTCOME GOALS:
1. Develop
skills in mark-making, framing as it involves composition in context, mapping
as it involves visual and data processing, and ideation.
2. Examine
intellectually diverse perceptual points of view.
3. Gain
knowledge of and expertise in a variety of modes of description.
4. Synthesize,
analyze, and evaluate skills developed in class.
5. Build
knowledge of studio art practices integrated with history, theory, and criticism.
COURSE TOPICS:
1. Framing:
composition/boundaries/borders.
2. Framing:
editing ideation/theory/context.
3. Framing:
mechanical versus digital tool.
4. Mark
making: perceptual drawing/modeling.
5. Mark
making: perspective/proportion in two-dimensions/three-dimensions.
6. Mark
making: human versus mechanical mark.
7. Mapping:
relationships/installation/site.
8. Mapping:
trace/texture/transcription.
9. Ideation:
research/engagement/community.
COURSE EXPECTATIONS
· Five projects (final is included) will be
assigned.
· Two short in-class projects will be assigned.
· Assignments should be executed thoroughly
and on time (no class time to ‘finish up’ on days projects are due).
· Come to class prepared with your materials
and tools, ready to work for the full class time.
· Students are required to spend a minimum
of six hours a week working on projects outside of class. Your I.D.s will be programmed into the doors to your classrooms.
· In addition to the above-mentioned projects, readings will be assigned in which you will be required to post your responses at minimum one hour before class to the class blog. You are expected to have intelligent responses that will be discussed in class and graded.
· You will be critiqued on the relevance and
originality of ideas (evidence of you in the piece, application of assigned
concepts), craftsmanship (considered and skillful use of materials, attention
to detail, “finished” quality), effort, personal growth, and progress.
· All critiques are integral to the development and growth of each person as a creative individual. You are required to come to ALL critiques for you and your peers. Final critique is mandatory. Failure to show will result in failure
for the term!!!
· There are no extra credits projects. However, a student may with prior
approval, re-work and submit projects for re-grading.
You are responsible for documenting and posting your work to the blog.
At the end of the semester, you will be required to turn in a CD documenting ALL of the work you accomplished.
You are responsible for documenting and posting your work to the blog.
At the end of the semester, you will be required to turn in a CD documenting ALL of the work you accomplished.
ITEMS OF IMPORTANCE:
The instructor
may change assignments and schedule to meet the needs of the class at
anytime. Work may be documented by
the instructor for records in the form of video and/or digital images. No
actual works of art will be retained, any student work left by the student
after the final exam will be thrown out.
You are responsible for maintaining communication accessibility through
email, class blog, and Blackboard. Cell phones,
iPods, etc. must be turned off during class and when in the studio; they may
only be used OUTSIDE of the classroom.
Audio or Visual recording of class/instructor is not allowed except by
written permission of the instructor.
GRADING CRITERIA:
Grading is dependent not only on artistic and
technical skill, effort and creativity within the guidelines of the project,
but also on participation in critiques, class discussions, group projects, and the quality
of personal research, commitment and attendance. Good grades come through hard work, open-mindedness and
application of technical skill.
Grades are based on:
60% In
class and out of class projects including final
15% Sketchbook and documentation of artwork (both posted to blog and final CD) combined
10%
Visiting
artist lectures, exhibition participation and reading responses posted to blog
15%
In-class Participation (studio work, critiques, final clean-up,
discussions, etc.)
Evaluation and
Grading
THE
MOST IMPORTANT RESPONSIBILITY OF THE STUDENT
Develop
and maintain a dialogue with the professor!!!
This
is how to ensure that you achieve individualized growth and the highest
personalized instruction.
GRADING
A = Superior: One who
answers all of the course requirements and performs at a level so far above the average as to be visibly
outstanding. It is assumed that he or she does more than is required.
B = Above Average: One
who answers all of the course requirements and performs at a level measurably
above the average.
C = Average: One who
answers all of the course requirements and performs adequately in so doing.
This is the standard of competence. C is a worthy not a disgraceful grade.
D = Below Average: One
who answers all the course requirements, but performs at a level measurably
below the average. D is a passing grade not a failure.
F = Failure: One who
either does not answer all of the course requirements, or performs
inadequately, or both. F is a failing grade.
ATTENDANCE:
Each and every class will have new material, lectures, demonstrations, etc. that build off of one another. It is important to have Interacting and collaborating with your peers is an important part of learning
- Every
absence (of any kind: ill, car trouble, slept in, etc.) over 2 will result in a
drop of one full letter in the overall final grade and a total of 5
absences (of any kind) will result in automatic failure for the course.
- There
are no excused absences.
- Two
late arrivals or early departures will be the equivalent of one absence.
- Do not email me that you are ill and not coming in. If you are not in class I will notice this. Only email me if you are asking for an extension for your project and the reasons I should grant it.
Any student who feels s/he may need an accommodation based on the impact of a disability should contact me privately to discuss your specific needs and provide written documentation from the Office of Disability Services. If you are not yet registered as a student with a disability, please contact the Office of Disability Services at 740-593-2620 or visit the office in 348 Baker University Center.
MATERIALS: Please be sure to check the 2013 SOA Foundations Material List. There are many important items on there required by incoming students. Please contact me if you need a copy of this list.
***These are materials Description students are required***
to have:
- 5” x 7” (or larger) Sketchbook with white blank pages (All sketches for class will be kept in this book)- please see the list of where to buy supplies
- Note taking supplies (No audio recorders, or visual recorders allowed)
- Drawing tools of choice (pencils, pens, charcoal, markers, crayons, etc.)
- Binder for all handouts and notes
- Pliers with wire cutters (the larger size is easier for leverage)
- Scissors
- Utility knife and extra blades
- Masking tape
These are materials artists/students should
always have on hand:
- 1 pad of 18” x 24” quality, white, drawing paper (not charcoal paper)
- Some large kneaded erasers
- 1 Staedler Mars white plastic eraser
- 1 straight edge or yardstick 36” long with measurement markings
- 1 each of graphite pencils 6B, 2B, and 2H (Bryunzeel are best but any will do)
- 1 pencil sharpener
- 1 Ultra Fine Black Sharpie
- 1 18” x 24” drawing board
- variety of charcoal and conté types
Supplies:
Local
The College Bookstore, Staples, Lowe’s, Big
Lots, Dollar Stores, Thrift Stores (New-to-You and ReUse, Goodwill), Random House (by Casa)
Parkersburg Lancaster Columbus
Crafts 2000 Hobby
Lobby (not open on Sundays) Prizm
(1270 East Powell Rd)
Mail Order Art Catalogues
ASW (Art Supply Warehouse) 1-800-995-6778 www.aswexpress.com
Utrecht (in
Columbus too) 1-888-336-3114 http://www.utrechtart.com/
Dick Blick 1-800-426-6740 http://www.dickblick.com/
Cheap Joe’s 1-800-227-2788
The Jerry’s Catalogue 1-800-827-8478 http://www.jerrysartarama.com/
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