Tuesday, April 18, 2017

Requirements: Digital Student Portfolios of semester work

1. Each student will compile a digital portfolio of their semester's worth of work created in SA302.
2. Submit electronically into a folder with your name, and compile on the prepared class flash drive. 
3. All work must be completed and loaded onto the flash drive that will be submitted during our Final Exam Block period on 
Thursday, May 4th  > 12:30 - 2:30 pm 

Your Digital Class Portfolio should include the following:
Experiments #1 through #9
For each your digital files should include:
  1. Thorough class notes from the introduction I did on each project; include all video notes and information on artists
  2. Detail the images of the evolution of each of your projects   
  3. Images of the completed project (stills for certain and video if applicable)
  4. All research leading up the completed project. For example I am a student and Experiment #5 Media Spills and Fallen Paintings, I may have been impacted by stained glass windows found in Chartes Cathedral in Tours, France as well as the work of Henri Matisse Jazz Mural, thus, I have images of both of those included. All references need to include all bibliographic information
  5. Your complete project statement with works cited page
  6. Your PPT of the overall experiment
  7. Research Paper # 1 + # 2 > evidence of your research and inclusion of your bibliographical sources 
  8. All of your papers and research completed outside the parameters of the experiments
Semester Experiments:
Experiment #1 > Article on Drawing : Drawing on an Article with essay notes: Richard Long > The Guardian and the TATE

Experiment #2 > Potentials of Random Chance with information on Sol LeWitt - The Adventures of Huckleberry Finn drawings

Experiment #3 > Figure Drawings (include 7 or more works from our figure drawing sessions) & Notes on Conceptual Thought : AKADEMIE X LESSONS in ART + LIFE :: Institute for Spatial Experiments video and discussion notes, Playing with Space & Light . TED talk 2009

Experiment #4 >  Media Spills & Fallen Paintings, discussion notes on Process Art, Barry LaVa, Richard Morris,  and Polly Apfelbaum. Video notes on Richard Tuttle Never Not an Artist

Experiment #5 > Exquisite Corpse Round Robin, collaborative project. Discussion notes of from project introduction; Surrealism, Dada; "The exquisite corpse shall drink the new wine."
Images of your Mail Art work (front and back)

Experiment #6 > Body as Measurement, with introduction notes to project

Experiment #7 > Obsessive Drawing & Performance Art, notes on WeiWei "Never Sorry," the Sunflower project and Motoi Yamamoto. Notes on Videos: Where do Ai Weiwei's Sunflower Seeds Begin & End? and Motoi Yamamoto : Return to the Sea : SPOLETO : 8:43

Experiment # 8 > Mapping Time & Space, notes on Alighiero Boetti
Prepared Notes: TEXT: To Draw is to be Human


Experiment #9 > Poetic Marks & Repetitive Actions > Self directed projects, all your research, concept drawings, images of evolution and your final project.  You will not have the opportunity to receive feed back from your colleagues for this particular experiment. In your project statement you need to critique yourself thoroughly explaining the connections you hope your audience will understand.

Other Class Notes & Research completed outside the perimeters of each experiment.  This would include Research Paper #1 and Research Paper #2

All of the above information should be thoroughly represented in your Sketchbooks as your on-going think tank of the semester's worth of work. Should you have more than one sketchbook, you need to hand that too. :)

Tuesday, April 4, 2017

calendar > April forward

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
Introduce: Experiment #9 : Poetic Marks & Repetitive Actions Final Project

WK 14

TU APR 18  Experiment #9 : Poetic Marks & Repetitive Actions Final Project - proposed ideas in sketchbooks, research, studio work
DUE: PPT with your evolution and answering the questions of the Experiment #8
Hardcopy of your Project Statement
Student Presentations #1

TH APR 20  Experiment #9 : student directed Final projects
Sketch book development, research, studio work
            
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 #9 : Poetic Marks & Repetitive Actions Final Project
Sketch book development, research, studio work
TH APR 27  Experiment #9 : Poetic Marks & Repetitive Actions Final Project
Sketch book development, research, studio work
                   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

Thursday, March 30, 2017

Experiment #9 . Poetic Marks & Repetitive Actions Final






Experiment #9 : Poetic Marks & Repetitive Actions Final project
Conceive of drawing as leaving traces on the world, either in human-built environments, or natural environments. This concept could result in an object (2D or 3D), documentation of the action in photos or video, or a combination of these. Thorough sketch book concept development, research evidence and on-going, rigorous studio work is expected.

Consider
context
process
materials
micro / macro relationships
text as image
obsessive nature
passionate nature

Student Work






I have been really excited about this last project. I actually plan to continue this sticker campaign after graduation, on a larger scale. Making my work matter to others, not only myself, is important to me. If there’s a way to make a positive difference in someone else’s life then I want to do my best to do so. Through a lot of my previous work I have begun to reach others on a few different levels, but spreading stickers to advocate for organ donation awareness is a way for me to touch others on a much broader scale. I can’t wait to see where my stickers end up in the future. 
All of that being said, I’ve been greatly influenced by artists like Banksy and Shepard Fairey. Beginning as street artists who weren’t well known at all, and having their work end up reaching so many people is amazing to me. In looking at them, I realized that the only way to even try to achieve something similar would be to put my work out there, all over. The most realistic way to do that seems to me by printing my art on stickers. They’re portable, small, and hold a big message. Make a difference. 
Attaching the hashtag “#DonateLife” is important to my work, as it provides a “why” to viewers. That hashtag will connect back to Donate Life America, increasing awareness and hopefully support for organ donation. I decided that this was not enough though, and simply showing others these stickers wasn’t quite enough—I want my viewers to be a part of this campaign. So, my goal is to have people email me pictures of the sticker and the location of it, to be added to an image gallery and map on my website (the link is also on the sticker that way it all connects back to my work and mission). I’ve included a project statement on my website as follows:
This sticker campaign is an attempt to raise awareness of the importance of organ donation through art. My goal is to have my Make A Difference stickers end up all over the world, and I want all of you to get involved! Send a picture of the sticker where you've placed it, and the location, to marieveschusio@gmail.com. I'll add your image and location to the image gallery, and together we can make a difference by raising awareness.
You have the opportunity to make a difference in this world by signing up to be an organ donor. As I have had many family members who have needed organ transplants, I have learned at an early age the value of life. You, one single person, can potentially save up to 8 lives by signing up as an organ donor. For more information about how to sign up to be an organ donor go to www.donatelifeamerica.org. Make a difference.
            To produce a body of work that could potentially reach so many is pretty crazy to think about for me. It’s never really occurred to me that I could possibly reach so many people through my art and hopefully make a significant difference in the world at the same time. It makes me excited for the future, for making more art outside of my college career now, and it excites me for humanity. What a way to end my career at Caz. Or better yet, to continue my career outside of Caz.





Katie B. - Hearing the words poetic marks and repetitive actions sparks many ideas in my head that I want to explore, but the one that is most prominent is embroidery. Working with embroidery for two of my previous projects (Experiment #7 and #8), I wanted to learn more in exploration of the art. Embroidering to me is poetic and repetitive. I am able to create a piece of art that has a piece of me in it because I am free to do whatever I want. The repetition of embroidering to me is soothing, while therapeutic. I am able to release any emotions I have pent up while I am embroidering and I can put that into my piece and you will be able to read those emotions in the piece itself through the tautness of stitch and the organization of threads 
As I am a novice to the art of embroidering I decided that I wanted to learn and teach myself how to do the various different stitches there are. I wanted to keep the stitches I learned simple so that I wouldn’t become confused or overwhelmed with what I was trying to do. I decided to improve my French knot and learn the running stitch, back stitch, split stitch, stem stitch, and a chain stitch. I wanted to learn these stitches without any pre-set idea of what I wanted my piece to turn into. I started and just kept going with where I wanted to draw with thread. 
After using a flimsy embroidery hoop I invested in a sturdier plastic hoop that kept my piece in place as I embroidered. I used a satin feeling cotton fabric and I decided that I wanted to keep the color scheme of my piece that same. I decided to stay analogous with my colors and chose soft pinks and salmon colors as well as brighter, warmer shades of the same colors. I chose to use cotton embroidery thread to compliment the cotton fabric that I had chosen. This way, while embroidering and creating the piece, I wouldn’t become too overwhelmed with what I was creating and the viewer later on wouldn’t be overwhelmed while looking at it either.
I started creating French knots in the middle of the fabric and I just let my mind wander as I was embroidering, laying the knots as if punctuating my thoughts onto the fabric.. I didn’t have any expectations as to what my piece was going to look like and that to me was therapeutic in itself because then I wasn’t trying to follow a pattern and I couldn’t mess up because my method was completely free flowing. I used all six of the different colors of embroidery thread that I had picked to create the knots until it decided that I wanted to learn how to do another type of stitch. I picked a color and got to work learning various new stitches. Each stitched line in my piece is one color. I chose to keep the stitches just one color so that anyone viewing the piece wouldn’t become confused about how the stitches were coming together. 
In the end, I decided to end my piece making it look like a small embroidered explosion off of the fabric. I am very happy with the result of my embroidery learning process. It shows time and effort, as hand embroidering is very time consuming. I can see this becoming a much larger piece or at least a small piece of many others. 

Anne V. - We live in a world where one of the main thing we do everyday is consume. As we buy new things, new things are being made every single day. Even when I was little I’ve always been very sensitive to littering, I absolutely hate seeing garbage lying anywhere, but especially outside. I am picking up trash on the sides of the roads when I go for walks and properly disposing of it. For my project I am showing what we do everyday, but may not realize it, walk in garbage. Humankind has been polluting this earth for quite some time now and there may come a time when there is nothing left but pollution.
Therefore, I decided it would be best to do a two part project, to help further emphasize the point I am trying to get across. So I’ve created a video that shows me walking down the side of the road, with one sneaker bare of trash, the other in a fully, colorful, littered line extending from my shoe and continues to accumulate over time. I chose the side of the road, as this is where I often see trash; from people either throwing it out of their cars or dropping it as they walk by. The video shows the accumulation of garbage attaching to my foot as I walk down the side of the road, the longer I walk the more trash I pick up. I chose to do this using a pair of old sneakers because they go hand in hand with the act of walking. Also, the pair of shoes I am using are old and worn, so instead of throwing them out, I am giving them a new life to further emphasize the importance of recycling.  The second part of my project is the actual pair of shoes themselves, which I took only one shoe, the right one, which is my dominant foot, and stitched and layered as much trash as I could onto it. The shoe became very arduous and cumbersome to walk in, as the trash increased. This further emphasizes the idea that we are continually placing a burden on the earth, by constantly polluting it. While walking around in these shoes, I got a sense of what the earth must be feeling, and it is exhausted.  
I am also greatly influenced by contemporary artist Mary Mattingly’s piece, Pull, that she did in 2013, which showed her dragging a huge ball of just stuff around New York City. Her sense of the lifestyle of an apocalyptic world, just really resonated with me, and lead me to think about all of the material, products, and just stuff that is manufactured in our world, and how so much of it can never be properly disposed off, allowing waste to just take over the earth. Therefore,  this is what my piece is showing, a trash takeover, somewhere in the future, when their is no room left for production of any more new stuff.  And we all will  have to work with what we have, which is garbage, and probably end up wearing the one thing we have too much of.  
I’ve taken something usually known as ugly and worthless and made into something beautiful and poetic.  My piece is very colorful and diverse, I mostly included garbage that one would see on the side of the road. I tried to make it as long as possible, measuring approximately 8 feet. I left one of the shoes without any trash because I realized the juxtaposition would be more potent to see one shoe with more on it then two shoes with not as much. Also, the absent shoe creates a nice contrast, emphasizing the present versus the future, and how the future might hold an apocalyptic world. 
Pollution will always be a problem until everyone recognizes that it is. As human beings, it is our responsibility to take better care of what we’ve been given, for we only get one earth, there's not another one just waiting around incase we fully trash this one. So I beg all of you to stop and think about how we are hurting this earth. Because the first step to a healthier planet, is as simple as not littering by properly disposing of all trash, whether it be outside or inside. 

Wednesday, March 22, 2017

Other: Micro Macro Relationships

Experiment #00 : Micro Macro Relationships & mixed media collages
Unique drawings that amplify their relationships to each other and are found in nature, in math and in the sciences, etc. 

Insert early in the semester

Tuesday, March 21, 2017

Experiment # 8 . Mapping Time & Space

Experiment #8 : Mapping Time & Space
Drawings that construct a narrative that maps areas over a period of time
Maps are a visual representation of knowledge
The Potentials of a Map:
i :
a representation (usually on a flat surface) of a particular area and/or idea
>> a representation of the celestial sphere or a part of it <<

iii : something that represents the clarity of an idea  
>> the Freudian map of the mind <<

iv: the arrangement of something tangible (or conceived) in a specified type of ordering >> genes on a chromosome —called also genetic map <<



link: MoMA > Maps, Borders & Networks

Here are a few examples:










Maps are a visual representation of knowledge

subway routes
geographical locations
brain waves
mapping a foot path
your charted growth on the inside of a door trespass  
charted demographics in a census
astronomy and the stars
the genomes of organisms
the way we plan research
the mapping of your college years

Artists have always had an intuitive understanding of how even abstract knowledge and concepts can be made visual. 

Contemporary artists have expanded this idea by appropriating both the type of conceptualization AND the look of traditional maps. 

According to Emma Dexter, “[Drawing] is a map of time recording the actions of the maker."

Read the above article, prepare notes in your sketchbook and be ready to discuss in our next class together. Tuesday, April 4th.

Experiment #8
Steps
Begin by brainstorming different things you can “map.”

Consider how these connections can be mapped across both space and time

Remember, you can turn the most conceptual of ideas into concrete form

Your work is a dimensional construct of your ideas

For example, you may have had a certain type of sneaker as a child. As you grew, your own tastes changed in foot wear. What are your taste's now? 
Map that evolution.

Map your actual travel.
Map your conceptual travel.
Where do you begin? 
Where do you end?
What do your book ends describe / notate?

Map this evolution, layering foot wear, size, travel.  
The multi-layered drawing or series of drawings that conceptually lay out this information. 
  1. Your work will define area, time, energy, dimension, scale and object and will be photographed in various ways
  2. Materials may be 2D or 3D -- but remember TIME, is your most precious of any material you may use!
  3. Create a six paragraph (minimum) project statement of how your work effectively makes use of material, mark, time, space, your overall interpretive concept of mapping time and space. 
  4. Consider the translations / perceptions others offered you from critique. 
  5. Consider your work's relationship to the research you have conducted and placed its evidence in your sketchbook! 
  6. Create a PPT of all your various 'studies.' Include discussion of the value of each as well as their limitations.
  7. Put the list in its entirety on your PPT - we want to see your evolution!
  8. Insert your project statement within your PPT.
  9. Send me an electronic copy of your studies in a PPT the day of following critique. 
  10. Submit hardcopy of your project statement the day following critique.
  1. CRITIQUE DATE:: Thursday, APRIL 13, 2017
Here are a few examples:
Matthew Ritchie 




Let's concentrate on the work of Alighiero Boetti following...


Essay from the MoMA exhibition catalogue July 1 > Oct 1, 2012 
Alighiero Boetti (Italian, 1940–1994) began making art in his hometown of Turin in the early 1960s, against the backdrop of a resurgent postwar industrial society. 

He rose to prominence in the context of Arte Povera, a movement of young Italian artists attempting to create a new sculptural language through the use of humble, everyday materials. Arte Povera translates to 'art of the poor.'
After the student protests of 1968, which brought about an increasing radicalization of Italian society and politics, Boetti removed himself from the politicized atmosphere of Northern Italy and moved to Rome, far from the artistic centers of Turin and Milan. 
He abandoned Arte Povera and began anew with conceptual works employing existing systems and simple structures, often expressed through drawings and collages. 
Boetti frequently traveled to distant places, most importantly to Kabul, Afghanistan, where he returned many times between 1971 and 1979 (when the Soviet invasion made travel to the country impossible). There he discovered a rich tradition of weaving and embroidery, and his collaborations with local artisans are among his most iconic works.

Mappa (Map). 1989–94. Embroidery on fabric. Various dimensions.
Collection Giordano Boetti, Rome © 2012 Estate of Alighiero Boetti/Artists Rights Society (ARS), New York/SIAE, Rome
Throughout his career, Boetti experimented with a wide variety of processes, materials, subjects, and styles, and he often incorporated chance and invited collaboration. Nonetheless, his work was guided by a consistent set of philosophical principles, often conceived in opposing or differing pairs. 

Notions of order and disorder, duality and multiplicity, travel and geography, time and space, and intention and chance permeate Boetti’s projects, finding expression in conceptual works made using the postal service, brightly colored embroideries created with the help of Afghan artisans, and large-scale drawings that deploy mathematical systems and formal operations of chance or spell out his ideas in poetic puns. 

Dynamic and charismatic, Boetti brought his preoccupation with opposites into his artistic persona, signing many of his works as the twin characters “Alighiero e Boetti” (Alighiero and Boetti): one who responded to the rational side of the world and another who embraced its irrational aspects. In this vein, many of Boetti’s works can be understood as self-portraits as well as elaborate word games in which the artist is reflecting on his place in the world and on how to describe the world in his work.

Organized roughly chronologically, Alighiero Boetti: Game Plan (an exhibition on view at the MoMA > July 1–October 1, 2012) presented both the diversity and the consistency of Boetti’s practice; it also illustrates his idea that the artist, rather than inventing new objects, simply points to what already exists in the world in order to give it new meaning. Articulated through pithy phrases such as “bringing the world into the world” and “giving time to time,” Boetti’s guiding principles are the thematic threads that carry through the exhibition.   


Aligheiro Boeit = G A M E  P L A N
“First of all I prefer thought. This is the basic thing. I really think manual skill is secondary. . . . It’s taking things from reality. Everything, however small and humble, always has a beginning and stems from reality.”



“I had been going in one direction. . . . Then I began to doubt this direction. In the spring of 1969 I left the studio in Turin. It had become a depot for materials. I left all of this as it was and began again from zero with a pencil and a sheet of paper.”

“I went to a supplier of building materials. It was thrilling to see the wonderful things that were there! Seeing all these materials filled me with such crazy enthusiasm, in the end it turned to nausea! But still, some of the best moments in Arte Povera were hardware shop moments.”

“For me, the work on the embroidered maps achieved the highest form of beauty. For the finished work, I myself did nothing, in the sense that the world is as it is (I didn’t draw it) and the national flags are as they are (I didn’t design them). In short, I did absolutely nothing. What emerges from the work is the concept.”

“I have done a lot of work which presents a visual disorder that is actually the representation of a mental order. It’s just a question of knowing the rules of the game. Someone who doesn’t know them will never see the order that reigns in things. It’s like looking at a starry sky. Someone who does not know the order of the stars will see only confusion, whereas an astronomer will have a very clear vision of things.”

“Many people send letters, using the postage stamps unaware of their design, color and placement. Many people travel and document their experiences without being conscious that they are making art.”

“Often when I draw I use both of my hands. Normally I am right-handed. When I draw with my left hand it is a kind of conversation with myself exploring the positive and the negative, the ego and alter ego, the order and disorder and mounting it on paper. It is as if on one hand there is Alighiero and on the other, Boetti.”

“Do you know why dates are so important? Because if you write, say, ‘1970’ on a wall, it seems like absolutely nothing, but in thirty years’ time . . . Dates have this beauty: the more time passes, the more beautiful they become.”

BOETTI at the MoMA - Interactive drawings (connect to link)

Student Work

    

Trent C. - My project was to use freckles on someone's face as star constellations and paint that into the inside of a cup. I believed the project was mapping more of space than time. The experiment I felt really grasped the ideas of constructing a conceptual map.  My project was minimalist and did not take a huge amount of materials or exertion to craft but still held a strong conceptual idea. I felt that it portrayed imagination, and creativity. It reflects the infinite universe and being contained within a teacup.  I feel that my project speaks about containment in such a way that it isn't restricting the medium, the universe, but can show the ability of the project's potential to grow indefinitely and create more by painting more cups or taking other alternatives to expand the project.  A lot of my critique came from the size and complexity of it. I did not want to create the container for my experiment because I feel that my teacup that I use on a daily basis has more of a connection to me personally and the idea of my imagination and the universe being contained into a mundane object. I believe the only change I could have made is making more painted cups.