in-class exercise (action)

To prepare for project #2, perform this quick exercise to get warmed up:

After receiving a set of instructions from Yoko Ono’s Grapefruit, perform the actions on campus during class time. Write about your experience of performing the actions and of any public response you observed during your performance on your blog. Also include any applicable documentation (images, videos, drawings, etc.) in your post. Use this exercise as a warm-up before beginning PROJECT #2—push yourself out of your comfort zone and question the parameters of how art is made. Can you make art with your body? Complete as many actions as you have time for in class on Monday 02/12.

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project #2 [performance]

DUE DATE / CRITIQUE: Wednesday 02/21 + Monday 02/26 in Gallery 199

PROJECT TITLE: Performance

PROJECT DESCRIPTION: Using yourself as your medium, create a performance piece with the subject matter of your choosing, using one of these three categories as your form…

  • HAPPENING (shake up “the norm” in a public space; interactive, relies heavily on audience)
  • ENDURANCE (test your limits in some way; challenges determination, patience, etc.)
  • PROCESS (perform the process of doing/creating something [not creating another artwork] from start to finish; reveals the creative process, obstacles, and creative solutions)

All performances must be performed live during critique in Gallery 199. Everyone will sign up for a critique slot today in class so you can bring in any materials you will need.

Your performance may be a collaborative effort with other members of your class, based on my approval.

In performance, the elements and principles of design are altered. Instead of shape, line, texture, etc. you are dealing in the realm of location, lighting, costuming, props, duration, etc. Pay attention to every detail—the choice of what you wear or how you act are what conveys meaning to your audience. Everything is a tool to communicate!

Although you are using yourself in some way (your body, your voice, etc) your own safety or the safety of others should never be challenged.

AS YOU PLAN YOUR PERFORMANCE, CONSIDER THE FOLLOWING:

  • How can you use your body as a tool for making art?
  • Is your performance scripted or improvised based on outside elements?
  • How do elements physical elements affect the meaning behind your piece?
  • Do you want your audience to be involved in the performance or to observe from a distance?
  • How do you want your audience to feel? What do you want them to think about?

DIGITAL SKETCHBOOK REQUIREMENTS: As you work on your projects, post the following on your blog prior to critique…

  • in-class exercise
  • project ideation (a paragraph about your ideas and conceptual goals before you begin work, research, sketches, work-in-progress images, etc.)
  • self-critique (a paragraph evaluating your project against your goals, and noting areas for improvement)

OPEN STUDIO DAYS: Wednesday 02/14 and Monday 02/19 (come prepared to work!)

RELEVANT ARTISTS / LECTURE RECAP: Yoko Ono, Sophie Calle, Francis Alys, Jamie Isenstein, Allan Kaprow / 2Matthew Barney, Marina Abramovic

intervention tips

For installations on campus:

Make sure all works are temporary and leave no trace behind after the installation. Contact the desired department to ask for permission, is possible. For public space on campus, try e-mailing facilities and CC me: acesmaindesk@ahec.edu

PICO projectors:

Check out from me to use during class time

Black & white plotter prints:

Available at FedEx, 36″ wide x any length, $.75 /sq foot

Tile printing in Illustrator: 

File > print > scaling

screen-shot-2017-01-26-at-12-19-29-pm

Wheat paste recipe: 

Screen Shot 2014-01-30 at 6.56.46 AM

 

 

project #1 [intervention]

DUE DATE / CRITIQUE: Monday 02/05

PROJECT TITLE: Intervention

PROJECT DESCRIPTION: Conceptualize and develop a temporary project for a public location outside of the classroom. Pulling influence from public art, street art, and earthworks, your project should be unexpected within the location and should conceptually deal with an issue or observation that directly relates to the location or community.

Consider how your action will intervene with your viewer’s everyday experience. Does the surprise of an unexpected artwork bring joy, disrupt the mundane, or raise awareness?

Your project may be interactive and prompt viewer participation.

For critique, you may bring in documentation, or take us to a nearby location to view the work.

EXAMPLES: Possible approaches may include, but are not limited to…

  • an art object masquerading as an everyday object (e.g. a subversive ‘zine placed in a newsstand)
  • an “earthwork” (responding to the environment and manipulating nature)
  • guerrilla projection (temporary imagery on architecture)
  • stencil art, wheat pasting, stickering (e.g. manipulating bus stop advertisements)
  • temporary sculpture (e.g. an object left on the street for someone to find)
  • set the stage for a participatory work (let the community add to it over time)
  • etc.

DIGITAL SKETCHBOOK REQUIREMENTS: As you work on your projects, post the following on your blog prior to critique…

  • in-class exercise
  • project ideation (a paragraph about your ideas and conceptual goals before you begin work, research, sketches, work-in-progress images, etc.)
  • self-critique (a paragraph evaluating your project against your goals, and noting areas for improvement)

OPEN STUDIO DAYS: Monday 01/29 and Wednesday 01/31 (come prepared to work!)

RELEVANT ARTISTS / LECTURE RECAP: Gabriel OrozcoThe Yes Men, Barbara Kruger, Jenny HolzerSwoon + OlekRobert Smithson, Sarah Sze

 

in-class exercise (camouflage)

To prepare for project #1, perform this quick exercise to get warmed up:

Select a playing card and use this object as a way to intervene with the environment around campus. Think about placing it in a location where it would be camouflaged or would stand out. Modify its appearance if need be, and use its presence as a way to subvert the everyday. Document this mini “installation” and post a photo on to your blog. 

[As a reminder, in-class exercises are to experiment with new approaches and may be achieved quickly during class time. Projects are larger in scope and concept-driven, with open studio time devoted to their planning and completion. The emphasis of your production is placed on projects, but exercises are essential to learning.]

critique warm up

Today, you will discuss and evaluate the “laptop” exercise of TWO people in the classroom. After pairing up, you will have 15 minutes to discuss your partner’s work, then 15 minutes to discuss yours with them. We will do this twice, so at the end of the hour you will have given and received two critiques.

Use the below strategies to guide your critique. These are helpful tools that you may implement in all future group critiques, so familiarize yourself and try several! 

DESCRIPTION /// “A verbal account of what is there.”
This type of critique aims to introduce us to the work — we need to be sure we’re all noticing the forms and features that are present. (Never assume that everyone in the room sees it the same way…we don’t.)  Try to describe as many aspects as you can: Colors…size…materials…imagery and subject matter…interactive features…alternate views…

ANALYSIS ///  “A discussion of how things are presented with an emphasis on relationships.”  Focus particularly on formal relationships of relative size, relative position, relative color, contrast, etc.  Focus on design principles: balance, contrast, harmony, unity, repetition, emphasis,  graphic hierarchy, directional movement and so forth. These are all matters of the relationships between forms.

INTERPRETATION ///  What meaning is conveyed in the artwork? What is the content and concept for this project? Are there any aspects of this work that prompt an unwanted interpretation? Are there aspects of this work that are ambiguous or vague? Is that ambiguity OK? How explicit or unambiguous should the artist want the message to be?  How does the chosen imagery contribute to, or detract from the intended message? How does the form (composition, colors, balance, dominating formal traits…) contribute to or detract from the overall meaning of the piece?

CRAFT AND VIRTUOSITY /// How well are the materials (medium, tools, processes) being used? Do the materials or strategies offer more potential that is not yet being exploited in the work? Are there other materials/processes that would provide a better solution? Is virtuosity with materials dominating the work?  Does it overshadow the core message or purpose of the work?

FEASIBILITY ///  Were there feasibility obstacles in creating this piece? (ask the artist, if available)  Not enough time to complete? Too much time and not enough of a constraint?  Material limitations?

ROOTS & SOURCES /// What prior works (artists, designers, ideas) does this build on? How does this work extend a dialogue of ideas? What is it that makes this work a part of that conversation or tradition?  Have you seen work like this before?  If yes, then what could be added or redacted from the composition to enhance its uniqueness?

COMPETITION & PEERS /// What else has been done, or is being done that is similar to this? How does this compare? In what ways does this offer something that others do not offer? In what ways is this basically repeating what’s already been done?