"These exhibitions present art as evidence of transitive activities, not static states. They attempt to capture the dynamics of the studio environment and to awaken awareness of the artist as a risk taker, stradegizer, laborer, and communicator. When it assumes the character of a verb, the artist's presence becomes palpable." Linda Weintraub

Course Description:
Visual Thinking I is the first half of a two part series which begins the process of differentiating content driven and media driven art production. This course focuses on mastery of interpreting the purpose, intent and content in the art making process. Students will learn to strategize and apply the process of connecting their own studio art production to semiological principles, art theory.

Along with assigned practicums, films, slides, visiting exhibitions, working diaries and readings as well as class dialog will drive
the search for content development and self evaluation.

Course goals:
1. Development of strong research skills and strategies for informing studio art production.
2. Introduction and application of Contemporary Art issues.
3. Development of critical awareness and analysis through dialog, written and application.
4. Honing skills in self evaluation, both on a personal level and in the context of society.

Class Text:
No More Secondhand Art, Peter London, Boston and Shaftesbury, 1989.
Art on the Edge and Over,  Linda Weintraub
Additional readings provided in class or on e-reserve.          

Course Requirements:
1.100% Attendance is mandatory and critical. Absences will greatly affect your grade and performance. Each unexcused absence will result in a drop of one letter grade per miss.
2. Constant maintenance of working diaries which will include research and responses to art events such as exhibition openings, thesis I and II critiques and lectures and exhibitions.
3. Completed assignments. Background work must be submitted as part of the diary or in conjunction with completed assignments. Late assignments will not be accepted.
4. Active, thoughtful participation in class critiques and discussions are a major criteria for this class. All critiques must be attended.  The final critique is on April 18, the last day of class. If you anticipate your absence from this final, please make prior arrangements or take a failure.

Class and Studio Rules:
- No beepers or cell phones.
- Clean up your mess and contribute to the general upkeep of the studio (part of the profession!) shut lights off and lock door if you are last to leave.
- No disrespectful remarks.
- Be ready to participate in class with the appropriate materials.

Evaluation:
Evaluation will be based on the student's attainment of the objectives stated above. Most importantly I will look for the creative content; the technical execution and the amount of research (working diary) put into the student work. Progressive development, commitment and class participation as stated in the goals are important factors in evaluating the performance in this class. Again attendance is mandatory. Failure to attend critiques and final assessment session will result in failure of the class.
A-Outstanding work and effort in and outside of class. Attended and participated in all class sessions.
B-Very Good work and effort, clearly above the minimum requirements
C-Good... average work, meeting all requirements
D-Below average and contributing less than the required effort
F- Not enough work to justify credit for the course

Academic Misconduct: Cheating is the unauthorized use of books, notes, aids or assistance from any other person with respect to examinations, course assignments, field service reports, class recitations or possession of examination papers or course materials whether originally authorized or not.

Plagiarism consisting of deliberates use and appropriation of the source and the passing off of such work as the student's own. Any student found guilty of violating academic integrity shall be subjected to procedures and penalties set forth by university policy.

See me if you do not understand something or are having difficulties. I am here to help you work out solutions.

Working Diary: (reviewed 3/7 and 4/18)
Your working diary is one of the most important requirements of this course, and will count for 25% of your final grade.
This diary will be hand made, There will be a workshop on how to make them. After this intense bonding with your sketchbook
you will keep it by your side for 24 hours a day. In making it you must consider this in order to work with your lifestyle and
sensibilities. This handmade should reflect your love of creating and love of yourself.

The book will contain:
Creative observations in both text and visual from both in and out of class.
Record day to day working procedures.
Studio sessions
Lecture notes
Responses to exhibitions, artist interviews seen in class.
Out of class events or activities that influence your work.
Responses to your work: How you did it? How is it successful? How could it be improved? Did it fail? Do you want to try a new direction?
Media considerations to best communicate your concept.
Working out a coherent artist statement and purpose.
Anything this is relevant to the development of your visual vocabulary.
 
The mission of the requirement of the working diary is to encourage you to record and dialog with yourself about the direction and
intention of your work in progress. This dialog with yourself will serve you well in brainstorming and problem solving any project
you will undertake. The development of this discipline is crucial in the development of the academically trained professional artist.

Diaries will be graded at midterm and the end of the term. I will ask for them sooner to make sure they are developing, as they
should.

"The sketchbook is fundamental to art. For the artist, it functions as accomplice, confidante, and co-conspirator. It doubles and triples as
a diary, commonplace book and idea bank. And it is a forcing house in which little nothings, set down in a sketchbook, may one day
reappear as big something. The sketchbook keeps pace with the artist, moment by moment, and year by year. When called upon to do so, it
stays on duty all day and all night, never complaining. It is there to remind, to console, and to preserve. It is the looking glass in which a
whole lifetime can be culled up for consultation. How can we wonder that the artist is rare who can get along without a sketchbook?"
John Russell, NY Times art critic.

Course Outline (Tentative)

Meet at Hollywood Art and Culture Center for a gathering of local artists who are working out a communities aesthetic and cultural needs.   6:00 pm on Sept. 6.

Projects
Images and Meaning: Kitsch vs. Compelling (On-going). Bring in images that are emotionally or intellectually compelling to you in some way.
They can be slides, magazine images, snapshots, and postcards. Then bring in a second batch, Kitsch, of images that are standard,
often seen, cutesy, well used icons or trademarks.
 
Image-Manipulation (Critique:  1/17)
On 4x 6 inch index cards make 30 collages with photocopied, scanned, found, images and text and media and make each card
address an emotive issue by juxtaposing different images, textures and text.
- Make the first 15 only thinking about design issues.
- Make the second 15 only thinking about content issues.
- Keep the sets apart.

Memorial Assignment (Critique:  1/31) Maya Ying Lin
Memorial: "1. Something designed to preserve the memory of a person, event, etc., as a monument or a periodic observance…. 4. Of
pertaining to memory…."Random House Dictionary pg. 834

In the media of your choice, construct a memorial to a person, place, event or idea. This assignment gives you the
opportunity to utilize a site- specific installation or performance venue to communicate or evoke the memory of your
chosen subject.

A memorial often expresses loss for something, someone or some idea that has ceased to exist. An example of an idea that
is now absent is certainty, security, free time, and sense of community, trust. etc.

Self as Source (Critique: 2/21) Beuys
Self awareness, personal history, physical appearance, sexual self, spiritual self are all aspects of the Self. In this project, you will create a work that uses yourself as source. This will be a work that only you can do. The content is specific to you only. Your memories are yours only, our dreams, or forgotten choices are yours only to be expressed in this work.

Art with a social or political context:  Land Art/Public Art (Critique: 3/14)  More Maya
This project addresses choice of content for your art voice that is informed by you or your community's political and ethical concerns.  Placement of your installation can be in a nontraditional venue in the form of a zine, land art, billboard or performance.  Collaboration, documentation and audience participation is encouraged.

Develop a project that engages an issue of social, political, community or ecological concern. The project can manifest as land art, public installation, or  site specific installation or performance.   This project can bypass the traditional exhibition space and can augment or alter any viewable space.  Consider billboards, zines,  courtyards, hallways, store fronts, phone booths, etc.   Also think about the collaborative aspect of this kind of project.  You may need additional performers or you may need to conduct interviews.

Alternative Journey (Critique:  4/18) Mel Chin
"Journey 1.a Travel from one place to another: Trip b. the distance to be traveled or the time required for such a trip. 2. Any
passage from one stage to another (the journey from cradle to grave). To make a journey… To travel over or through."

Select a particular walk or journey to investigate. Carefully document the passage paying attention to all of the senses, time,
thoughts, and associations. The path need not be straight. It can curve and can circle back on itself.

Interpreting the journey in any media follows the note taking process. This means installation, film, photo documentation, and
performance. Take risks and try new media outside of your area of concentration.