Description class Collaborative Movie

Collaborative Stop Motion Animation by an awesome Description class.
Collectively titled "OU Love Story"

Sentences on Conceptual Art

by Sol Lewitt 

1. Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.
2. Rational judgements repeat rational judgements.
3. Irrational judgements lead to new experience.
4. Formal art is essentially rational.
5. Irrational thoughts should be followed absolutely and logically.
6. If the artist changes his mind midway through the execution of the piece he compromises the result and repeats past results.
7. The artist's will is secondary to the process he initiates from idea to completion. His wilfulness may only be ego.
8. 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.
9. The concept and idea are different. The former implies a general direction while the latter is the component. Ideas implement the concept.
10. 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.
11. 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.
12. For each work of art that becomes physical there are many variations that do not.
13. 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.
14. The words of one artist to another may induce an idea chain, if they share the same concept.
15. 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.
16. If words are used, and they proceed from ideas about art, then they are art and not literature; numbers are not mathematics.
17. All ideas are art if they are concerned with art and fall within the conventions of art.
18. One usually understands the art of the past by applying the convention of the present, thus misunderstanding the art of the past.
19. The conventions of art are altered by works of art.
20. Successful art changes our understanding of the conventions by altering our perceptions.
21. Perception of ideas leads to new ideas.
22. The artist cannot imagine his art, and cannot perceive it until it is complete.
23. 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.
24. Perception is subjective.
25. The artist may not necessarily understand his own art. His perception is neither better nor worse than that of others.
26. An artist may perceive the art of others better than his own.
27. The concept of a work of art may involve the matter of the piece or the process in which it is made.
28. 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.
29. The process is mechanical and should not be tampered with. It should run its course.
30. There are many elements involved in a work of art. The most important are the most obvious.
31. 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.
32. Banal ideas cannot be rescued by beautiful execution.
33. It is difficult to bungle a good idea.
34. When an artist learns his craft too well he makes slick art.
35. These sentences comment on art, but are not art.

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First published in 0-9 (New York), 1969, and Art-Language (England), May 1969

Description Syllabus Fall 2012

Peter Callesen, Holding On To Myself, 2006

Description

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)

Url: www.courtneykessel.com
TA:  Melissa McCloud     Url:  www.melissabmccloud.com

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.

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.

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.

ACCOMMODATION

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/