Monday, January 23, 2017

Experiment #2 . Potentials of R A N D O M chance

random chance random chance random chance random chance random chance random chance rando
random chance random chance random chance random chance random chance random chance rando

random chance random chance random chance random chance random chance random chance rando

exercise #1: Entopic Graphomania

This exercise is based on a Surrealist game.

Simply grab a sheet of paper—it can be a page from an old paperback book, or anything with markings.

Place dots on specific words or letters. You choose what set of marks, words, or letters you want.

Connect the dots with straight, curved, or zigzag lines to create a pattern. An exercise like this will reveal hidden patterns and shapes in a system-ruled drawing. Engage in randomness -- there is ALWAYS potential found there!

In Action: Entopic Graphomania video

f o u n d p o e t r y

Allow your choice of media, your mark making become meaningful to the context of the text - keep your marks non-objective. Be wary of falling back into old habits of what feels comfortable, or what you feel the drawing should look like.

Such assumptions are based in old ways of thinking and what you believe a good drawing SHOULD look like.

E X P E R I M E N T A T I O N is key! Do not worry about what the drawing ends up being. Be I N V O L V E D in allowing the concept of the page / the found book / etc. lead you into new ways of connecting concept / narrative with your choice of media a mark.

Below are examples of drawings that are based in aesthetics of formal elements and not meaningful marks connected to the substrate the drawing is on...

Student Work

Thursday, January 19, 2017

Sentences on Conceptual Art . Sol LeWitt

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 willfulness 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 misconstrued.

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.

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

Monday, January 16, 2017

calendar

SPRING 2017

Cazenovia College

Academic Calendar

Pepper's courses

MWF FA112.02 Art History 2 > 12:20 - 1:15 Eckel 109

T TH SA302.01 Graphic Forms > 11:00 - 1:50 JCA 206

T TH FA 351.01 Museum as Medium > 2:00 - 4:50 JCA 209

T TH SA499.01 Senior Seminar > 6:00 - 8:50 JCA 209

OH M + W 1:20 - 2:20 & T + TH 5 - 6 pm & by appointment

WK 1

TU JAN 17 First day of classes SP2017 introduction
Experiment #1 : An article about drawing & drawing on the article

TH JAN 19 Read, note take, discuss Sol LeWitt's Sentences on Conceptual Art -- bring supplies to class! Experiment #1 : An article about drawing & drawing on the article

WK 2

TU JAN 24 End of Add / Drop
Read: Text #2 - Experiment #2 : Drawn Systems

TH JAN 26 - Experiment #2 : Drawn Systems

WK 3

TU JAN 31 Critique : Experiment #2 : Drawn Systems

TH FEB 02 Experiment #3 : Drawing from Another : the Human Figure

* Gallery Exhibition

Monroe Community College Visual Art Faculty

THURS FEB 02 - THU FEB 16 . 2017

Benjamin, Bogdanovska, Crum, Downer, Farrell, Flack, Ferrari-Rowley, Sardisco, Smith and Weldgen

FRI FEB 03

2:30 JCA 209 Alexandra Elise, Lifestyle / Wedding Photographer Professional Practices Spring Colloquium

WK 4

TU FEB 07 Experiment #3 : Drawing from Another : the Human Figure

TH FEB 09 Experiment #4 : Media Spills & Fallen Paintings : drawing as installation

WK 5

TU FEB 14 Experiment #4 : Media Spills & Fallen Paintings : drawing as installation

TH FEB 16 Critique : Experiment #4 : Media Spills & Fallen Paintings : drawing as installation

* Gallery Exhibition

Annual Juried Student Exhibition

FRI FEB 17 - work in gallery by 3:00 pm begin to install

MON FEB 20 - MON MAR 13

MON MAR 13 deinstall after 2 PM

FRI FEB 17

@ 2:30 > JCA 209 Professional Practices Spring Colloquium

Mimi Murad ’14, Real Time Correspondent MLB

Rachel Donovan ‘15

WK 6

TU FEB 21 Experiment #5 : Round Robin Collaborative Works

TH FEB 23 Experiment #5 : Round Robin Collaborative Works

Spring Open Houses FEB 21 > FEB 24

Art + Design Open House

MON FEB 20 . 2017

and opening of Annual Juried Student Exhibition in Art Gallery

WK 7

TU FEB 28 Experiment #6 : Body as Measurement

TH MAR 02 Experiment #6 : Body as Measurement

FRI MAR 03 Midterm (INC from FA2016 grades due)

WK 8

MON MAR 06 Spring Break

WED MAR 08 Spring Break

TU MAR 07 Spring Break

TH MAR 09 Spring Break
FRI MAR 10 Spring Break

WK 9

MON MAR 13 Classes resume

TU MAR 14 Critique : Experiment #6 : Body as Measurement
Student Presentations #1

TH MAR 16 Experiment #7 : Obsessive Drawing & Performance Art
Student Presentations #1
DUE 1st Research Paper

VC Seniors in the Art Gallery in Reisman Hall

MON MAR 13 after 4:00 PM

through THU MAR 30

FRI MAR 17

@ 2:30 > JCA 209 Professional Practices Spring Colloquium

Jessica Pilowa, ESM Art Teacher (B/W photography, ceramics)

WK 10

TU MAR 21 Critique: Experiment #6

TH MAR 23 Introduce: Experiment #7 : Obsessive Drawing & Performance Art

@ 2:30 > JCA 209 Professional Practices Spring Colloquium

Travis Duffy ’15, Graduate Student, SUNY Oswego, MAT

Jenna Patrone ’13, Graduate Student, Parsons, MFA

WK 11

TU MAR 28 Experiment #7 : Obsessive Drawing & Performance Art

DUE: PPT with your evolution and answering the questions of the Experiment #6

Hardcopy of your Project Statement

TH MAR 30 Critique: Experiment #7 : Obsessive Drawing & Performance Art
Introduce Experiment #8

* Gallery Exhibition

ID Senior Exhibition

THU MAR 30 @ 4 PM

through MON APR 17 @ 3:59 PM

FRI MAR 31 Last day to Withdraw from a Class

WK 12

MON APR 03 Pre-registration for FA2017

TU APR 04 Critique: Experiment #7 : Obsessive Drawing & Performance Art
Experiment #8 : Mapping Space & Time

DUE: 3 sentences of each student's work
PPT with your evolution and answering the questions of the Experiment #7
Hardcopy of your Project Statement

TH APR 06 Experiment #8 : Mapping Space & Time

* Gallery Exhibition

CAZ Faculty Exhibition in Mercer Gallery at Monroe Community College, Rochester NY

April 6 - May 4, 2017

Opening Reception April 6 from 5-7 pm

WK 13

TU APR 11 Experiment #8 : Mapping Space & Time

TH APR 13 Critique : Experiment #8 : Mapping Space & Time

WK 14

NOTE: Experiment #9 is a one week in-class assignment.

TU APR 18 Experiment #9 : Micro / Macro relationships : mixed media collage

DUE: PPT with your evolution and answering the questions of the Experiment #8
Hardcopy of your Project Statement

TH APR 20 Experiment #9 : Micro / Macro relationships : mixed media collage
Student Presentations #2

FRI APR 21

@2:30 > JCA 209 Professional Practices Spring Colloquium

Sara Corona, Art Therapist

* Gallery Exhibition

SA / PH BFA Seniors

MON APR 17 @ 4:00 PM

through THU MAY 4 @ 3:59 PM

MAY 1st last day of classes

Exam Week = May 2 - 5 . 2017

All monitors finished their 2016-2017 work-study stints on May 1st.

WK 15

TU APR 25 Experiment #10 : Poetic Marks & Repetitive Actions Final Project
Student Presentations #2

TH APR 27 Experiment #10 : Poetic Marks & Repetitive Actions Final Project
Student Presentations #2
DUE Research Paper #2

SA APR 29 Cazenovia College Fashion Show

WK 16

MON MAY 01 Last day of classes

TU MAY 02 Final Exams FA112.02 Art History 2 > 12:30 - 2:30 pm

FA351.01 Museum as Medium > 5:30 - 7:30 pm

WED MAY 03 Final Exams

TH MAY 04 Final Exams SA302.01 Graphic Forms > 12:30 - 2:30 pm > Experiment #9 : Poetic Marks & Repetitive Actions self directed projects
FRI MAY 05 Final Exams

TU MAY 09 Final Grades Due by 9 am

TH MAY 11 Academic Awards Banquet

SA MAY 13 Commencement

Sunday, January 15, 2017

course readings

Text #1
Sentences on Conceptual Art by SOL LeWITT

Text #2
Richard Long > The Guardian and the TATE

Text #3
What is Drawing? From The Irish Museum of Modern Art

Text #3
MoMA: On Line: Drawing through the 20th C. ++

More ON LINE

Text #4

NOTATIONS: Contemporary Drawing as Idea & Process

Text #5

Drawing is SEEING: Los Angeles County Museum of Art

Text #6

a BLOG:: drawings & notes

Text #7
Chuck Close drawing ++
How to use the Grid method following Chuck Close

Text #8
Marlene Dumas: Measuring Your Own Grave

Text #9
BOMB magazine = Raymond Pettibone ++
CULTnation: The Master of Black INK

Text #10
D as in DRIPS, a conversation with Ghada Amer

Text #11
BOMB magazine: James Esber

materials & supplies

Supports, Substrates, Media, Applicators & Tools

pencils (HB - 6B) + handheld pencil sharpener

at least 2 erasers (kneaded and hard white plastic)

compressed charcoal (3 sticks, soft/med)

soft vine charcoal (both thick and thin sticks)

Durable found stick at least 36" in length

soft graphite sticks (4B – 8B)

conte crayon - white and sepia (1 @)

water-soluble crayons, small box, or at minimum, 3 primaries + 1 cool + 1 warm colors

Brands: Holbein, Caran D’Ache, Crayola, Prang Lyra Aquacolor, Faber Castell

small, inexpensive box of oil pastels or at minimum, 2 cools, 2 warm colors

scissors

small bottle of paper cement

workable spray fixative

1” wide masking, artist’s tape or blue painter’s tape

utility knife

India Ink, black and one other color

plastic containers for fluid media

1 bamboo Chinese brush

inexpensive set of watercolors with brushes

chalk pastels (4) 2 warm colors and 2 cool minimum

140# rag paper to be used on longer outside assignments

unprimed + un-stretched canvas, 2’ x 60” minimum

1 bamboo reed pen

Acrylic Matte Medium or small container of Modge-Podge and gesso

Paper Brands

Sketchbook (spiral or hard) at minimum of 10” edge

white (non-newsprint) drawing paper ::

Strathmore Drawing 400 Series / Canson / Canson Biggie Sketch pad / Fabriano Eco-White 56 – 94 # >> all 50 – 90#lb. >> size 18 x 24”

Watercolor Paper (loose or in spiral pad) ::

Fabriano Studio Watercolor sheets, cold or hot press, 140#

Fabriano Studio watercolor sheets, torchon 130#

Fabriano Artistico, traditional white, 90, 150#, Arches watercolor paper, cold or hot press, 150#, Strathmore watercolor paper 400 series, 140#, others >> however all papers watercolor paper should be 100% RAG, and either HOT (smooth) or COLD (rough) press, 140# + weight, at a minimum of 10” edge. Other brands may also be used similar to the listed products above.
Yuppo plastic paper

analytical assessment rubric

Art & Design Analytical Research Papers Rubric

using creative work examples

Analytical Assessment valued in the 5 qualitative areas below:

#1 Analysis of the creative work

Grade A (student is excelling standards)

B (student is meeting standards)

C (student is approaching standards)

D (student is not meeting standards)

A. Student accurately describes several dominant elements or principles used by the artist/designer and accurately relates how they are used by the creator to reinforce the theme, meaning, mood, or feeling of the creative work.

B. Student accurately describes minimum of three dominant elements and principles used by the artist / designer and accurately relates how these are used by the artist to reinforce the theme, meaning, mood, or feeling of the creative work.

C. Student describes some dominant elements and principles used by the artist, but has difficulty describing how these relate to the meaning or feeling of the artwork.

D. Student has trouble picking out the dominant elements.

#2 Interpretation of the creative work

Grade A (student is excelling standards)

B (student is meeting standards)

C (student is approaching standards)

D (student is not meeting standards)

A. Student forms a somewhat reasonable hypothesis about the symbolic or metaphorical meaning of the creative work and is able to support this with evidence from the work.

B. Student has the ability to identify the literal meaning of the work.

C. Student can relate how the work emotionally charges feelings in viewers

D. Student finds it difficult to interpret the meaning of the work.

#3 Description of the creative work

Grade A (student is excelling standards)

B (student is meeting standards)

C (student is approaching standards)

D (student is not meeting standards)

A. Student makes a complete and detailed description of the subject matter and/or elements exhibited in the creative work.

B. Student makes a detailed description of most of the subject matter and/or elements seen in a work.

C. Student makes a detailed description of some of the subject matter and/or elements seen in a work.

D. Student provides descriptions that are not detailed nor complete.

#4 Evaluation of the creative work

Grade A (student is excelling standards)

B (student is meeting standards)

C (student is approaching standards)

D (student is not meeting standards)

A. Student has the ability to use multiple criteria to judge the artwork, such as composition, expression, creativity, design, communication of ideas.

B. Student uses at least 2 or 3 criteria to judge the artwork.

C. Student attempts to use aesthetic criteria to judge artwork, but does not apply the criteria accurately.

D. Student only evaluates the work as good or bad based on personal taste.

#5 Mechanics of Writing

Student is A = EXCELLING
or B = MEETING
or C = APPROACHING
or D = NOT MEETING in the following areas:

Student makes use of at least three credible sources (no Wikipedia!)

Student makes use of APA or MLA writing format and includes a properly cited bibliography

Student includes visual illustrations to support essay’s content

Student completes an essay that illustrates the clarity of the main point, its development or argument, seamlessly

The completed essay is well organized in its construction and writing style

The completed essay exhibits technical control in the mechanics of writing and grammar