Course Description:
This course is intended to develop visual thinking and conceptual development
skills by introducing students to definitions of art and studio practices
motivated by ideas rather than by media and technique. Students will be
exposed to exhibitions, screenings and slide presentations where concepts
in contemporary art theory and practice are proposed and discussed. Assigned
projects in studio art and research will explore the fundamental rigors
of art theory and practice while honing students’ conceptual and presentation skills. As a result, students will broaden their visual thinking and perceptual literacy to the point where they can easily transcend media barriers. Our ultimate goal in Visual Thinking 1 is to begin the process of producing art motivated by content and to differentiate this from artistic practices that simply manipulate media.
Goals:
• Establish strong research practices for studio-based artistic production
• Extend students’ critical, analytical and perceptual awareness, both visually and intellectually
• Advance the students’ ability to articulate ideas both orally and in writing
• Guide student toward self-evaluation and increased self-confidence
Required Readings:
(Required texts are available at the FIU bookstore and on reserve at FIU Green Library)
Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings, Kristine Stiles and Peter Selz
Structure of the Visual Book, Keith Smith
Course Reader (available at the Graham Center Copy Service)
Attendance & Course Requirements:
• Turn off all beepers and cell phones.
• 100% Attendance is required to receive the maximum grade.
• All assignments must be completed to pass the course. Late work will not be accepted.
• Assigned readings and other preparations are essential to productive class discussions; if you
are unprepared for class you will receive zero credit for the day’s activities
• Critiques are mandatory; even if you have not finished the assigned project you are expected to
participate in the critique.
Evaluation:
Evaluation is based on technical ability, creative content, progressive development and the degree to which you challenge yourself.
90 - 100 A outstanding: work, participation, effort and attitude all remarkable
80 - 89 B good: work, participation, effort and attitude beyond expectation
70 - 79 C average: all work completed effectively with expected participation, etc.
60 - 69 D poor: any one of the requirements below expectation and/or assignment
59 & below F failing: work incomplete, attendance, effort and/or attitude inadequate
Plagiarism or any other academic fraud will result in failure.
Course Projects:
Journal/Working Diary/Sketchbook:
Record your experiences and activities during this course as they occur with both visuals (i.e. drawings, clippings, collection of materials, photo and/or video documentation, etc.) and your written commentary. Include your day to day working procedures, studio sessions, lecture notes, responses to all readings, viewings and exhibition visits as well as any other experiences which influence the development of your visual vocabulary during this time. It should record your responses to your work, [I.e. What you did, how you did it, successes, failures, changes of direction, problems, solutions, use of various media, inspiration, outside research, etc.] The Working Diary should include documentation related directly to the assignments in progress as well as any ideas that come to you as a result of this activity.
The final format of this project will be an actual artwork, not just a collection of class notes. While a book is probably the most obvious solution, you may also consider video and audio elements as well as other non-traditional possibilities. The presentation of the working diary should, through its organization and layout, reflect the visual nature of this experience. The purpose of the working diary is to encourage you to record the direction of your work as it takes place, to plan subsequent intentions, to analyze the nature of your visual language and to treat the creation of visual images and structures as a disciplined, coherent and meaningful activity.
Outside Research:
During the semester do each the following in addition to class activities and assignments.
Document these experiences in your journal.
• Visit at least 6 exhibitions at museums and/or galleries throughout the semester.
• Read at least one review, essay, article or chapter from a book or magazine each week
• Visit at least one art-related website each week.
Ways Art Means: Read the essay, “Thirteen Ways of Looking at a Blackbird” by Thomas McEvilley. Find at least one example of a recognized work of art that fits each model. Include a xerox copy of the image in your sketchbook and briefly write why you feel the work fits the model.
Narrative Book: Narrative, also known as storytelling, perhaps the oldest method of creatively sharing images and information with others. This project involves developing a narrative structure (images and/or words) and constructing a book-based object whose forms is appropriate to the narrative content. Keith Smith’s text, The Structure of the Visual Book, will provide strategies for conceptual and formal development.
Journey: Alternative processes, practices and forms: Select a particular walk, journey or activity to investigate. Choose something that holds especial interest for you. Disregard any preconceived ideas about what will happen before you experience it. Document your journey as you make it, letting your idea develop through the process. Determine a form of presentation that effectively communicates some compelling aspect of your experience. Any media can be used from detailed journal entries involving photographs, notes, and drawings, to a large-scale environmental installation. Work with materials and/or processes outside of your concentration. Take risks, mix and experiment with media outside your area of concentration.
Self as Source: During this semester we will begin the research, collection and development of a project to be finalized during Visual Thinking 2. Begin by using your own experience as the visual and contextual source material for this project. Remember though, that art is a means of visual communication and that in order to reach your audience you want to consideryou’re your experience fits into the broader context the the society, time and world in which you live. Collect and document images, objects and materials relating to your own identity and place in the world including, but not limited to your own body, personal objects, possessions, sites, habitats, experiences, ethnicity, race or class. If self was an intrinsic component of one of your earlier projects, you may further develop that investigation. The final form of the project may be any structure, or combination of media that expresses the concept. Non-traditional art forms and media are encouraged. At the close of Visual Thinking 1 you will be required to show the progress of your research and process in developing this project.
Book & Videos on Reserve at FIU Library for ART 3821:
books:
Art & discontent: theory at the millennium BH39.M434, 1991
McEvilley, Thomas
Theories and Documents of Contemporary Art:
A Sourcebook of Artists’ Writings N6490.T492, 1996
Eds.: Stiles, Kristine and Selz, Peter
Structure of the Visual Book Z116.A3 S58 1994
installation art (listed under ART 5930 reserve) N6494.I56 D4, 1994
de Oliveira, Oxley, Petry and Archer
Blurring the Boundaries (listed under ART 5930 reserve) N6494.I56 D39, 1997
Museum of Contemporary Art, San Diego
videos:
There was an unseen cloud moving VC 3657
Leslie Thornton
Guillermo Gomez Pena NX504.W67, 1996, vol. 2
SEMESTER SCHEDULE: (subject to changes announced in class)
DATE CLASS ACTIVITY WHAT’S DUE
T Aug 31 Class Intro
R Sept 2 Slides Reader pp.
(To Say Things That Are One’s Own, Interpreting Art)
T Sept 7 Class does not meet formally
Visit 2 museum/gallery exhibits, write response in journal,
collect artist statements where available.
R Sept 9 Class does not meet formally
Visit 2 museum/gallery exhibits, write response in journal,
collect artist statements where available.
T Sept 14 Discuss McEvilley, 13 Ways of Looking at a Blackbird Ways Art Means Project
R Sept 16 Discuss Narrative / Intro Project Keith Smith text pp.William Kentridge: Drawing the Passing
T Sept 21 View Deadman by Jim Jarmusch
R Sept 23 Visit Margolis Collection with Vicky Goldberg arrive before 2pm!
T Sept 28 View An Unseen Cloud Moving, and discuss films
R Sept 30 Discuss Storyboards Narrative Project Storyboards
T Oct 5 Video: Bell Hooks (acc. Video: Larry Clark’s Kids)
R Oct 7 Discuss video screened on 10/05 notes of questions and ideas re: videoBell Hooks/Cultural Criticism
T Oct 12 Critique narrative book
R Oct 14 Critique narrative book
T Oct 19 Discuss Self as Source and Journey Projects, form groups
R Oct 21 Video & Discussion: Helen Chadwick
T Oct 26 Video & Discussion: Guillermo Gomez-Peña (reading: In Defense of Performance, Peña, Art Papers July, August 2003)
R Oct 28 Plan Theories and Documents readings Discussion Outlines/Kyrstof Wodiczko: Projections
T Nov 2 In-progress Critique (show physical manifestation of work)
R Nov 4 Video & Discussion: Kiss and Tell
T Nov 9 studio work
R Nov 11 Veteran’s Day Holiday
T Nov 16 Discuss Theories and Documents readings Chris and Lisa
R Nov 18 Discuss Theories and Documents readings , Stian, Daisy, Tobias, Nathaly
T Nov 23 Critique Journey Project at South Campus W1 105
R Nov 25 Thanksgiving Holiday
T Nov 30 Critique Journey Project at BBC site
R Dec 2 Self as Source Research (Attend Basel Art Fair)
T Dec 7 Studio prep (make appointment with me for problems)
R Dec 9 Feedback sessions
Final week: Present Journals
INTERPRETING ART: GUIDELINES FOR CRITICAL OBSERVATION
1. Subject Matter vs. Content:
Every work of art ever produced has content, or meaning. Analyzing the content of an artwork requires the consideration of subject, form, material, technique, sources, socio-historical context. And the artist’s intention (though the artist’s interpretation of the work may differ from the viewer’s).
There are two widely held misconceptions about content. First, that it is the same as subject. In fact, the subject of a work is just one part of its content. An artist depicts a landscape or a figure, for example, and those are the works’ subjects. The subject can usually be identified by sight, whereas the content require interpretation. Often that interpretation takes into account factors that are invisible in the work, such as the expectations of the patron who commissioned the work or art historical precedents. The content of a landscape might be divine benevolence or humanity’s destructive impulses toward the planet. The content of a portrait might range from the glorification of the sitter’s social standing to the artist’s sexual objectification of the model.
The second common misconception about content is that it is the opposite of form--which includes size, shape, texture, etc. In effective artworks, form and content reinforce one another. For instance, the machine-made look of a HARD-EDGE painting devalues the importance of the artist’s personal touch. Psychic depletion is suggested in Alberto Giacometti’s pencil-thin figures by both the attenuation of the forms and their pitted metal surfaces.
––from Artspeak: A guide to Contemporary Ideas, Movements and Buzzwords, by Robert Akins
2. Description:
Make a list of at least 30 descriptive words and/or phrases in answer to the following questions:
• What is here? What am I looking at? What do I know with certainty about this image or object?
• Descriptive information is true or false, accurate or inaccurate--in other words, verifiable, and
NOT opinion.
• Descriptive information is derived from both internal (looking at the artwork) and external
which may include artist statements and interviews as well as any available published
materials.
• Descriptive information includes statements about the artwork’s subject matter, medium, form and
style, as well as information about the artist who made it, the time period and social milieu
during which it was made.
• An artwork that contains images and objects that can be recognized as people, places or things is
considered representational. If these images and/or objects appear life-like the artwork is also
considered realistic.
• Images and objects that are not recognizable are considered abstract.
3. Association & Emotions:
Identify and list immediate associations--things you are reminded of when viewing the artwork. Also consider how the artwork makes you feel? Try to determine what aspects of the work are triggering these emotions.
• Your associations and emotional responses are never right nor wrong, but simply personal. They
can, however, provide insight for your interpretation of artworks.
• Not everyone has the same associations and/or emotional responses to any particular artwork.
4. Projection of Artist's Intention:
Consider what the artist's intention might be and write down possibilities. Remember that it need not agree with your interpretation.
• An artist’s intent may be strong--a well thought out concept that may or not be successfully
executed.
• An artist’s intent may be weak--a concept not adequately formulated
• Sometimes the artist arrives at a successful solution that was not intended.
5. Interpretation of Content:
“To interpret is to account for all the described aspects of an artwork and to posit meaningful relationships between the aspects.” from Criticizing Photographs, by Terry Barrett
• Unlike description, interpretation is not right or wrong, but instead plausible, interesting,
enlightening, insightful, meaningful, revealing, original or conversely, unreasonable, unlikely,
impossible, inappropriate, absurd, farfetched, or strained. In other words, the strength of your
interpretation rests with your ability to use the facts you have recorded as description to support
your analysis.
• Use the recorded data to construct possible meanings of the image/object. Keep in mind that
universal agreement on meaning is not necessary and that meaning may not always be specific.
• What do you consider to be the meaning, sense, tone or mood of the photograph?
6. Evaluation or Judgment:
Finally, the qualitative success of the work of art may be judged by comparing the recorded data. Consider your description and Interpretation(s).How well do the elements you’ve described support your interpretations. What could be done to improve the artwork? Remember that your evaluations will be more compelling as your knowledge of the subject increases.
• Like interpretation, evaluation is never absolutely nor definitively right or wrong, but instead more
or less convincing, persuasive and compelling, depending on how well they are supported,
Without adequate research, description and interpretation your evaluation will be irresponsible as
well as insupportable.
• Evaluation requires that you have in mind criteria for what makes a successful work of art. While
there are a number of critical theories you may find it most useful to develop your own criteria
combining criteria from various theories.
• Realism, expressionism, formalism, instrumentalism, Feminism, and Marxism are several of many
possible positions of critical theory.
7. Personal Preference:
A work of art may be successful without being pleasing; likewise we may have a personal fondness for work that is not at all successful.
* Thanks to Terry Barrett’s Criticizing Photographs for some of the ideas in the outline. |