"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.
5. Develop a habit of attending local exhibitions at museums and art centers and collections.

Class Text:
Art Speak, Robert Atkins .
Structure of the Visual Book,  Keith A. Smith
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 the last day of class. (The week of Dec. 4)
5. You are required to visit both the Margolis and Rubell collections in the Design District.
Failure to attend and participate in the critiques will result in a zero grade for that practicum.  Failure to do the final is an automatic 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 and participate in the critiques will result in a zero grade for that practicum.  Failure to do the final is an automatic failure.
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.

Artists to Look up and be ready to discuss in class:

COURSE OUTLINE: (tentative)

Projects
Long Term on going project:
Working Archive
Your working archive is one of the most important componets of this course.  25% of your grade will depend of the outcome of this effort.
Special note:  Since class is large, be ready for presentation, make sure you have the right format so no time is wasted.

"The words intention, tension, and intensity, all share the common Latin Root tensum meaning to 'stretch'.  It is through our intentions, conscious and unconscious, that our work and our lives have intensity.  This essential movement-to stretch towards is fundamental to the art process.  One's sense of direction is shaped by one's past as well as the needs and motivations which orient us to the future." Jim Goldberg, Image, Sequence, Context Syllabus

Short term Projects
Images and Meaning:  30 Second Video Clip with short essay connecting this video with your own life course. The essay is to be no more than 1/2 page or 100 words. Relate this work metaphorically to the subject matter and themes you employ in your personal art work.  Que video and time at 30 seconds exactly. "A metaphor says one thing is something quite different; it implies the possibility of transformation and change, a questioning of the absoluteness of proper meaning and, consequently, of law...." Marxism and Deconstruction, Michael Ryan, page 4.  Develop a working knowledge of what signs and symbolic images mean.  Sources include: fairy tails, mythology, religious iconography and rites.

(due: UP 9/2) (BBC 8/28)

All assignments will be accompanied by a 1/2 page statement of intent.

Image-Manipulation (Critique:  UP 9/9) (BBC 9/9)

Using an oriental fold book format arrange a set of photographs (or photocopies, computer generated imagery )(16 images)that will communicate a narrative or have some relationship to each other so that the meaning of the images is transformed from its original meaning.  Refer to Keith Smith's Structure of the Visual Book.
If you are knowledgeable about other book structures, feel free to apply them.  See Keith Smith's " Books without Paste or Glue." 1/2 page statement of intent included.

For this project you will need these materials:  Heavy cover paper:  22" x 29"  BFK heavyweight or Arches Cover. Black, Buff or White.  Your choice.  Buy more than one, in case you need to do project over several times.  X-acto knife and blades, ruler.
 

Memorial Assignment
 Due UP: 10/7  New Self Evaluation Form  Important!  (BBC 9/25 preview/ Critique:  BBC 10/2) 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. (  IMPORTANT! Amended: Since we have no exhibition space in our class room --give yourself a size limitation.  Look at the fiber arts such as embroidery/knitting/books/box installations as new options that are portable.

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.
Show and discuss plans for submission to professor before due date.

Practicum will be accompanied by statement of intent.
 
 

Art with a social or political context:  Land Art/Public Art : due UP 10/21 (  BBC 10/9 project preview/Critique: 10/23) 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.
Practicum will be accompanied by statement of intent.
 

Alternative Journey:  Please note change due    UP 11/18     (Critique: BBC18  ) 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.
Practicum will be accompanied by statement of intent. This includes analysis (compare your work to historical sources or artwork and research background.)  The latter is a critical component of your Critical Understanding part of your rubric.
Note Change in final dates:
November 25 will be a work day.  Do not come to class on that day.

Archive due :  UP 12/2 BBC 12/2
Self as Source : UP 12/9 (  BBC 12/9 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.
Practicum will be accompanied by statement of intent. This includes analysis (compare your work to historical sources or artwork and research background.)  The latter is a critical component of your Critical Understanding part of your rubric.

Statement of Intent should include:

• A concise written communication ( including a brief description) that analyses the methods and materials.  (e.g.. Why use crochet?  Dried grass?  Urine?)
• Historical/Scientific/Aesthetic /Cultural/Socialogical/Museum studies/ etc, links. (e.g.. your work could be responding to a historical tradition of water witching or to the museums tradition of the vitrine or wunderkammer.)
• Personal connections. (e.g.. ethnic background, special interests that are sometimes not art related,
• Goals: does this work question or hand out answers? ( Is it ambiguous?  Didactic? Does the work compel the viewer to ponder multiple and complex issues and emotions?
•  Possible layers of meanings.
• Outside research at bottom of page.  Please include museum and gallery exhibits (viewed this semester) that have informed your work.