open concept (final)

CRITIQUE DUE DATE: Tuesday 05/02

PROJECT TITLE: Open Concept (Final)

PROJECT DESCRIPTION: Create a new piece of 4D art responding to the conceptual goals of your choosing.

You are required to use at least one of the concepts/techniques/approaches we have seen in class, but feel free to supplement your work with techniques from your previous knowledge, or research and experiment with a new approach. Works will be viewed in the classroom, so if you do an installation or temporary work, bring in documentation.

This is your final project for this class and will be worth 20% of your final grade. Use this project as an opportunity to take risks, try something new, and build on what you have learned in this course.

PROPOSAL: Before you begin on your project, write a one page (double-spaced) proposal for your open concept assignment. Outline your conceptual goals, provide details for materials, equipment, and techniques you plan to employ, define final format / size, and cite any references or preliminary stylistic / historical / cultural research you have done. A hard copy of your proposal is due at the beginning of next class, Tuesday 04/25, and we will discuss them individually.

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

  • 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)

SCHEDULE RECAP: 

Tuesday 04/18 – introduce open concept assignment, begin proposals, open studio

Thursday 04/20 – no class meeting, attend Performance Art Week events

Tuesday 04/25 – proposals due, individual meetings, open studio

Thursday 04/27 – open studio

Tuesday 05/02 – critiques

RELEVANT ARTISTS: pull inspiration from the artists classmates presented last week and do independent research

in-class exercise (space)

Find a space on campus that you have never been before. This does not need to be the same site for your larger project. Your space may be public, but you must be the only one from your class in this space for the assignment.

Find a comfortable seat or place to lean or stand and observe the space for 30 minutes. Resist the urge to look at your phone or talk to anyone. During this time, take note of the following, and use this data to produce a space map.

  • inhabit the space (walk the perimeter, note ceiling/sky and floor/ground)
  • measure the space (traditional measurements such as inches and feet, or relative measurements such as steps, jumps, body lengths, arms, etc.)
  • listen to the space (record sounds, frequency, tempo, background and foreground noises)
  • touch the space (note temperature, moisture, texture)
  • thoughts in the space (record where your mind wanders, what you think about in the space and how many of these things are unrelated or triggered by something in the space)
  • changes in the space (how has the space changed in 30 minutes, more/less populated, changing activities, light shifts, etc.)
  • notice any other details about the space that define the experience of being there — be creative!

Bring all your data back to class and use it to create a space map. Your map can be a drawing or collage that illustrates the sensory details that someone may not see when they look at the space. Your space map should give viewers a sliver of “being there.”

project #4 [installation]

CRITIQUE DUE DATE: Tuesday 04/04 + Thursday 04/06 (sign up for dates in class on 03/14)

PROJECT TITLE: Installation

PROJECT DESCRIPTION: Installation art is immersive, site-specific, responds to the cultural or structural elements of place, and utilizes viewers’ many senses.

Create an immersive installation and a sensory experience that highlights a sense other than sight…

  • smell
  • sound
  • touch
  • taste

Your works can still have visual components, but consider how your installation can highlight, obscure, or abstract one of the above senses. Install your work in a nearby location, or utilize gallery 199. Respond specifically to the location you chose and create an artwork that could not exist anywhere else. A “place” in this case can be a room, a corner of the gallery, a hallway, a park bench, a broom closet, a crevice under the stairs, etc.

All works will be experienced first hand during critique. No documentation for this project! All students will sign up for a critique day and your work must be installed for us to view on that day.

Since this project requires you to spend time in a specific location outside of the classroom, there is an OFF-SITE open studio day scheduled for you to work. Off-site time is independent work time and may be spent location scouting, finding supplies, constructing elements, or installing. There will be no formal class meeting on this day, and no attendance will be taken.

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)

SCHEDULE RECAP:

(Note a couple changes from the original syllabus)

Tuesday 03/14 – introduce assignment, in-class activity, open studio

Thursday 03/16 – off-site work day*

Tuesday 03/21 + Thursday 03/23 – SPRING BREAK – NO CLASS

Tuesday 03/28 – in-class open studio, individual midterm reviews

Thursday 03/30 – in-class open studio

Tuesday 04/04 – first critique day, projects installed by students who signed up for this day

Thursday 04/06 – second critique day, projects installed by students who signed up for this day

RELEVANT ARTISTS / LECTURE RECAP: Sissel TolaasMika RottenbergKohei Toshiyuki, Snarkitecture

 

in-class exercise (30 sec)

During class time, sketch out a story board for a 30 second moment. Roughly draw or write descriptions of what happens during each second of this 30 second moment.

You can choose a 30 second clip from a piece of video art, movie, TV show, book, news report, a fictional scene of your own, or a real event that happened to you. Describe this 30 seconds in as much detail as possible. Notice how pauses or transitions may take longer than it seems when experiencing/watching 30 seconds pass in real time.

Take a picture or scan your storyboard and post to your blog before the end of class.

project #3 [video]

 

DUE DATE / CRITIQUE: Thursday 03/09 *all works will be screened on this day*

PROJECT TITLE: Video

PROJECT DESCRIPTION: Shoot and edit a short video or stop motion animation (no more than 5 minutes in length) responding to a prompt selected in class. Consider themes that relate to a 4D practice—social justice, ephemerality, and abstracted time.

We will have a set of GoPro cameras available for check out during class time, but you are welcome to use any video camera you’d like to record your piece. Various editing techniques will be shown in class for you to explore.

Possible approaches include…

  • use the time-based structure of video to create something completely abstract (consider mood, constructed environment, and how moving elements evolving over time allow viewers to “feel” your concept)
  • create a piece of performance art designed for the lens (perform a gesture discussing the issues of your concept, done in isolation, designed specifically for the camera)
  • develop an immersive video installation (experiment with projectors, consider spacial relationships, audience interactivity)
  • create a linear narrative (a work that tells a story over time)

Remember that your prompt is just a jumping off point. Feel free to let your project define the word, resist it, or take inspiration from it.

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)

TUTORIAL DAY: Thursday 03/02

OPEN STUDIO DAYS: Thursday 03/02 and Tuesday 03/07 (come prepared to work!)

RELEVANT ARTISTS / LECTURE RECAP: Eadweard MuybridgeSam Taylor WoodBill Violaanimated gifsChristian Marclay

 

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 Thursday 02/09.

project #2 [performance]

DUE DATE / CRITIQUE: Tuesday 02/21

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 have an audience (of some kind) to bear witness to your action.

You may also choose to perform your piece live during the critique in class, and Gallery 199 is available to you. You may also do your performance outside of class and visually document it for critique through still images, an animation, a video, an artifact, or a combination of these documentation modes. Remember that your documentation is the way your project is conveyed to viewers who were not present during the performance. As always, make sure that the final format you choose fits your conceptual goals.

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

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 like setting, lighting, props, costuming/your appearance, etc., affect the meaning behind your piece?
  • Do you want your audience to be involved in the performance 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: Tuesday 02/14 and Thursday 02/16 (come prepared to work!)

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