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Sunday, June 12, 2011

predictors of artist/designer success

  1. curiosity
  2. work ethic
  3. critical self reflection
  4. creativity
stolen from multiple sources
but today i'll reference (thinktank)

Sunday, May 8, 2011


MONDAY, MAY 9 - Installation and housekeeping
9:30 am divide into install groups; install exhibition [leaving room for TTH WASHers]. You should have received an email requesting specific works and we have some we've held onto for exhibition. Please bring projects and materials to install works.
Dot cubed (newpaper 3D collage)
Human comps
Storyline (stories)
Markmaking storyline
Big idea
Larger than life cardboard (will be modeled fashionshow runway like at 6:30)
Cardboard spheres
Modular madness
Monologue/Uncomfortable videos with laptops and headphones
Life or something like it (metaphor)
Life map
Big idea
Send out email/evites/facebook etc invitations to exhibition


1:30 pm Peer crit write up. You will positively critique each member of your table group [ONLY POSITIVE] plus three other WASHers of your choosing, anonymously. These will be submitted to me. I will type them up (with NO authors' names) and you will receive yours on Wednesday ~ 7pm. Your critique should give specific examples or experiences to support your statement. They may range from being about your peer's work, process, participation at table, personal experiences, about personality, attitudes, etc. They should be very specific. No using words like cool, sweet, awesome, etc...these are vague and actually somewhat meaningless. 
2:00 pm Exhibition discussion

Confirm all works are labeled with artist/designer/animator's name and project

WEDNESDAY, MAY 11 - WASH House Exhibition
4:45 pm All laptops should be setup with headphones (bring cables)
5:00 pm All WASHers in the WASH House greeting guests, explaining projects, etc
6:15 pm Selected artists will put on their cardboard outfits
6:20 pm Cardboard fashion show runway style
6:45 pm Any works that have a performative element will be executed
7:00 pm Pick up morgue, personal crit, any work that can simply be taken off the wall
THURSDAY, MAY 12 - Deinstall and remove all work
 8:30 am - 2:00 pm

Saturday, May 7, 2011

VISUAL JOURNALS: Morgues due Monday

REMINDER: your morgue should include images of your projects, process pictures, preliminary sketches, proposals, printout some crit write ups, storyline, etc. If necessary, add pages. 

Blogs should be completed with inclusion of Big idea project and crit write up. 

If I asked you to bring pictures for exhibition and they are in my possession (office), then bring white foam board, exacto with blades, and spray mount. Don't forget to bring hardware necessary to mount your work. it should be unobtrusive (not really visible). 

Now that is mark making (Tony Orrico: Penwald)

Tuesday, April 19, 2011

people's choice award for student show
go vote for a WASHer

go by the Gaddis Geeslin Gallery today and vote!

The awards ceremony will be Thursday, April 21 at 5pm in E108. Reception in gallery afterwards.

Monday, April 18, 2011

lecture 9 (4/15) assignment

lecture homework for April 15

Reading Assignment: In The Making: Choosing a Mission: pg.281-321 (Victoria Vesna, Wenda Gu, Tony Oursler, and Mariko Mori)

Writing Assignment:
The Dia Art Foundation's  second artists' project for the world wide web, begun in 1995, was created by the Russian emigrant artist team Vitaly Komar and Alex Melamid. The Most Wanted paintings, as well as the Least Wanted paintings, reflect the artists' interpretation of a professional market research survey about aesthetic preferences and taste in painting. Intending to discover what a true "people's art" would look like, the artists, with the support of the Nation Institute, hired Marttila & Kiley, Inc. to conduct the first poll. In 1994, they began the process which resulted in America's Most Wanted and America's Least Wanted paintings, which were exhibited in New York at the Alternative Museum under the title "People's Choice."

Copy and paste survey into blog post and answer the questions in Komar and Melamid's survey about painting preferences. After you have finished, answer the following questions in thoughtful, paragraphs in your blog post:

1. Do you think that your answers  are similar or different from most Americans? In what ways are they similar, and different?

2. Which questions do you think  would be the most helpful if  one was using market research to design new paintings for sale? What questions would you ask differently, or leave out entirely?

3. Would this work? Why or why not?

Post (title: lecture 9 assignment) your completed survey, and your answers before Friday, April 29

Monday, April 11, 2011

The BIG IDEA [final project]

Download your BIG IDEA handout and thoroughly verse yourself with the handout and begin your brainstorming.

Sunday, April 10, 2011

Lecture 8 [4/8] reading and writing assignment
due Monday, April 18

Download handout

Lecture homework for April 8: Fantasy
Due Monday, April 18, posted to blog.

In The Making: Relating to The Audience: pg.74- 119
(Charles Ray, Will Schade, Arnaldo Morales, Rirkrit Tiravanija, and Gillian Wearing)

Research the work of Survival Research Laboratories and
answer the following questions in a 600 word essay [your own words]:
  1. Looking at the work of SRL as fantasy, what fantasies does it fulfill?
  2. Compare SRL's performances to more mainstream events/entertainment that articulate the same kinds of fantasy. How are they alike, what key elements are different?
  3. Is SRL "yanks with tanks" as the Dutch protesters said? Does SRL's work promote or critique mechanized violence? or both?
  4. Who is SRL's audience? Why were they staging a big event in Amsterdam, rather than Tripoli, Libya or Kandahar, Afghanistan?
Artists mentioned in the lecture:
Thomas Kinkade, Thomas Cole, Carl Jung, Tibetan Buddhist monks, sand mandala, Notre Dame Cathedral, Paris, France, George Lucas et al. Star wars, Norman Rockwell, Freedom from Want, Bernardo Bett, life of Saint Bernardino of Siena, Odilon Redon, The Buddha, 1905, Mariko Mori, WAVE ship, Roger Dean, fantastic landscape (album cover), James Cameron, Avatar (film still), Survival Research Laboratories, Albert Pinkham Ryder, The Race Track, H.R. Giger, DOOM II video game still, The Laocoon Group, 1st c B.C., Chiho Aoshima, Aubrey Beardsley, Salome: The Dancers Reward, 1894, Tibetan demon mask, carved wood, 17th c., Takashi Murakami, DOB inflatable, 2008
Eugene Delacroix, Death of Sardanapolis, 1827, William Kentridge, Mine, 1985, Rene Magritte, Rape, Edvard Munch, The Scream, Paul McCarthy, Spaghetti Man, 1993, Kara Walker, Trenton Doyle Hancock, Raymond Pettibon, cover of Pig cupid, 1985

Friday, April 8, 2011

your IDENTITY ESSENTIALS should be posted today

and your inflatable model images, proposal boards and crit write up should show up before Monday.

Here are a few IDENTITY ESSENTIALS (don't forget to include what category you are working within). Plus, don't know if it is my connection, but a number of your links are broken to a few of your images. Please fix if applicable to you.

Body as a site of conflict
Be sure to go see Chinny's entire series. The cutting off of the face yet revealing the expression of the mouth reveals the actual emotion/attitude/statement that lies behind her question.

Body as landscape
Emily H has created a nice cohesive series

Body [metaphor] as essence of  gender

Katy combined essence of gender, body as landscape and
used Georgia O'Keefe's work to determine color palette.

Essence of gender (metaphor/humor)
Maggi and she shot these in the grocery story (guts for breaking social mores/norms)

Tuesday, April 5, 2011

Crit guide for Inflatatopia Models

Here is the guide we will be using to review your models and proposal boards.
You may use it now to be sure you've addressed everything requested.

Model/Proposal crit guide

Friday, April 1, 2011

MW Performance Schedule
WASHey Awards

Monday's 4/4 Performance Schedule

1.     Martin 1.     Donovan
2.     Brian 2.     Krystal
3.     Malicia 3.     Ollie

4.     Kevin 4.     Jackie
5.     Josh 5.     Keenan
6.     Chinedu 6.     Emily T

7.     Nic 7.     Naomi
8.     Kim 8.     Dante
9.     Casey 9.     Hannah

10. Wendy 10. Hannah
11. Emily H 11. Katy
12. Sarah 12. Brittnie

13. Selina 13. Danielle
14. Zach 14. Allison
15. Jada 15. Ryan

16. Mirella 16. Carlos
17. Jeremy 17. Tayler
18. Lee Ann 18. JP

19. Lauren 19. Janna
20. David 20. Shelby
21. Tray 21. Alex
22. Brandon 22. Maggie


most excellent
inflatable teams

Emily H
Emily T



Lee Ann






Tuesday, March 29, 2011

Inflatatopia Happening

Please download and read the Inflatatopia Happening handout (project parameters).
Read carefully.

Inflatatopia Happening teams will be announced tomorrow in class.

Sunday, March 27, 2011

stuffed animal to dissect
performance brainstorming lists
color supplies

Initiation into inflatables
bring two (or more) stuffed animals--one to share with a table-mate! I didn't get by store to get you one = bring your own plus extra to share if you have some.

what else for 3D:
  1. scissors/exacto (something to rip seams with)
  2. iron
  3. one box of aluminum foil per table
  4. office clips
Art Performances
To be presented Monday, April 4 (am and pm)
Assignment: create a one-minute live performance in our 10x10 "blue line theater," using one prop, one word and yourself. You will perform and crit.

Phase 1: Ideation/Brainstorming (post to blog and bring printout Monday to class):
  1. List of fifty words that you think might be part of a good one-minute performance, record them in your morgue and publish to your blog.
  2. For each word, list ten possible props. List them as well.
  3. Choose five words. For each word describe 5 possible performance options--that is a total of 25 ideas. 
  4. Consider
    What would be compelling for the audience to watch?
    What would you like to perform?
    What is technically possible?
    Feel free to make up new props or words
    as ideas occur to you until you get two or three good prospects.
    Write a storyboard/script of what will happen in your piece,
    what the audience will see.
    What will you do with your face? your posture? your arms?
    your hands? your legs? your feet? your butt? your eyes? etc?
    How will you enter the space, walk, schooch, crawl, gallop, roll, hop, slither?
    How will you project your voice? will it vary?
    What will you wear? on your head, in your nose, on your lips, on your torso, on your legs, on your feet, on your butt?
Part 2: The pitch:
Pitch your ideas at someone else in class on Monday while dissecting your stuffed animal; try to present a complete, descriptive summary of your one minute performance idea. Imagine they were a Hollywood movie executive, and you're trying to sell them your idea for their next big movie. Get their feedback and use it to sharpen your ideas.
Part 3: In class performance Monday, April 4.

2D Project 3 -- Color
See handout for details and schedule.

Your MAPPING project AND
your images of your METAPHOR project AND
your performance BRAINSTORMING LISTS
your potential IMAGES for COLOR project
should be posted to your blog before tomorrow.

Thursday, March 24, 2011

Post final images of your Metaphor project
before Monday.

People's [WASHers'] Choice Award
METAPHOR: Life or something like it

Uncomfortable Video People's [WASHers'] Choice Awards

The YUCK award

The EEEK award

The AWWW award

The MAKE IT STOP award

Tuesday, March 22, 2011

Post your Story LINE crit and 4 images

Also post imageS of your map titled MAP grade me. These need to be up before the end of the week.

Metaphor: Life or something like it
should be installed before 9:15 tomorrow.

1. Morning Crit.
2. Afternoon intro to Color and five students will present their mapping projects (more later)

Am looking forward to seeing your metaphor projects.

Sunday, March 20, 2011

install mark making (story LINE)
AND mapping project
BEFORE 9:15 am tomorrow morning

Be sensitive to your fellow WASHer's installations; identify your work (with small, white subtle name tag -- presentation matters!). Bring materials and tools to install your pieces and have a "just in case" back up system. You may install tonight, but do not move anyone else's reserved spots or work.

I can't wait to see the WASH House full of art when I arrive tomorrow.

Wednesday, March 16, 2011

don't forget to give each of your table team feedback

on three metaphor proposals. be sure to consider if they are actually metaphors.

Thursday, March 10, 2011

Download and bring handout
Field Trip to MFAH & CAMH
Friday, March 11

Download and bring handout

Houston Field Trip
Friday, March 11

Museum of Fine Arts Houston
promptly @ 10 am (conclude ~3pm)
free when attending with our class
1001 Bissonnet, Houston, TX (map)

Park across street in Methodist church parking lot (free)
Carpool with students returning to Huntsville.
Spring Break begins March 12 

Lunch at Cafe Express in MFAH(~$15)
(may brown bag it)

We will also be visiting:
Cullen Sculpture Garden
Contemporary Art Museum Houston CAMH
Assignment sheet to be posted soon.

Tuesday, March 8, 2011

Fall course schedule has been posted

Fall course schedule to review. 
Be sure to request an appointment to be advised before it is time to register.

Life or something like it
[metaphor project]

WASH 3D Project 4

Life, or something like it…

Many of us are familiar with the way writers and musicians use figurative language or metaphor to communicate feelings and ideas. Visual artists also rely on metaphor to express ideas and connote meaning. Rather than presenting the viewer with a literal representation or illustration of an idea, metaphorical thinking can expand an elusive idea by creating conceptual depth.

Develop three different visual metaphors for a personal memory/experience. Look for material from your bio-map listings for which you can successfully craft a visual metaphor. You may not use overly literal representations of the things you remember, or symbols. Though powerful, these methods of communicating are not the focus of this project. Experiment with forms, materials, and images that can be used to communicate these ideas from your personal memory. Materials and technique are up to your choices.

Part 1: Brainstorming ideas/ making proposals sketches:
On Wednesday, March 9, BRING LAPTOP. You will be developing three metaphor project ideas and will need access to online research. Each idea/proposal should stand alone and on its own merit. Someone else should be able to construct your project proposal from this detailed proposal drawing and explanatory text. Use text, collage etc. whatever is needed, to get your ideas across in your proposals. Post each proposal (titled metaphor proposal #1, #2, #3) on your blog by end of day Friday, March 11.

Part 2: Critical review
Saturday and Sunday, March 12-13, review each of your table members 3 proposals. Read them carefully. Post feedback via comments for each proposal for every table member. Your comments should address: Do you get it? What is clear? What is not clear? Do you think it will work? Does the visual metaphor make sense? Is it a dead metaphor (cliché)? What about the material choices? Make suggestions to improve each proposal?

As a reviewer, it is your job to help another student clarify their ideas by asking them questions (in your post comments), and to help them find workable ways of realizing their project through suggestions. It is your job to help your table-mates flesh out a definite direction and a workable plan of action that seems likely to produce a fantastic piece of art.

Your blog proposals and feedback will function as a part of your process grade.
Part 3: Re-work your proposal
Based on reviews from your table-mates, rework each (3) proposal and post as updated metaphor proposal #1, #2, #3 before Wednesday, March 16. Indicate which of these three proposals you will be executing.
Part 4: Realization
Realize your piece using appropriate materials and techniques. Remember to be alert to the possibilities of the materials as you work with them. Every problem might turn out to be an opportunity in disguise! Your final project DOES NOT have to be, and probably won't be, exactly what you originally intended. That's fine, as long as it's better! Post pictures of materials and process of creation over the break.

Your final metaphor project will be due first thing on Wednesday morning, March 23. Monday, March 21 bring project and all necessary supplies to class. You should be about 70% done constructing/assembling your project.

Evaluation criteria:
  1. Metaphor: Successful metaphoric use of a material, form, or image. Does the piece make a legible metaphor? Do viewers of your piece "get it" immediately and clearly, or are they left guessing what your point is? The piece may have several possible interpretations, but each should be clear: there is a difference between complexity and confusion.
  2. Craft and design integrity: do all the elements of the piece work together, or are there distracting elements?
  3. Ambition: sheer bigness, outrageous, unexpected materials, and incredible effort.
  4. Presentation: is the project is presented to maximize its effectiveness, as far as possible? Is the way the piece is presented thoughtful and appropriate?
  5. Parameters: does the piece follow the project parameters? No symbols or literal representations?

Sunday, March 6, 2011

uncomfortable links

  1. Alexandra 
  2. Allison            
  3. Brandon 
  4. Brian 
  5. Brittnie 
  6. Carlos            
  7. Casey             
  8. Chinedu   
  9. Danielle            
  10. Dante  
  11. David 
  12. Emily H           
  13. Emily T        
  14. Hannah            
  15. Jacquelyn 
  16. Jada   
  17. Janna   
  18. Jeremy  
  19. JP
  20. Joshua            
  21. Katy     
  22. Keenan    
  23. Kevin 
  24. Kimberly            
  25. Krystal            
  26. Lauren            
  27. Lee Ann
  28. Malicia            
  29. Maggie            
  30. Martin 
  31. Megan            
  32. Mirella 
  33. Naomi            
  34. Nic            
  35. Ollie           
  36. Ryan    
  37. Sarah  
  38. Selina
  39. Shelbey 
  40. Donovan            
  41. Tayler 
  42. Traveon 
  43. Wendy   
  44. Zackary

now that is uncomfortable Emily H.!


OMGosh! well done! yuk, gross me out, yes I am now uncomfortable!

Friday, March 4, 2011

Uncomfortable video project parameters

3D Project 3.2 Uncomfortable Video [4D]
  1. Theme: Uncomfortable
  2. Sixty second [or less] video
-editing via computer
-exceed 60 seconds
-cuts (turn camera off; make necessary changes; restart camera. no digital editing)
-language but it should only play a support role (keep it to a minimum)
-shoot, review, refine, reshoot; again and again
-dependent on content set youtube settings to UNLISTED; after we have reviewed piece you may choose to set it to private.
  1. Youtube upload and link emailed to kk no later than Sunday, March 6, 4 pm
  2. Create link on blog to video (or if private); create post Uncomfortable Video that indicates private content sent to KK via email
  3. Burn to CD or DVD
  4. Turn in CD/DVD at 9:30 am Monday morning to TAs
  5. CRIT MONDAY. Don't miss.
Grading criteria
  1. Degree to which audience is made uncomfortable
  2. Visual content (background, framing of shot, lighting, body language)
  3. Audio content (sound quality, ambient noise, voice usage)
  4. Narrative (storyline, script, theme)
  5. Work within parameters (if parameters bypassed; does the work significantly justify the bypass)

Tuesday, March 1, 2011

What do you think?

Well? Perhaps you don't feel so alone in your thinking now? Well?

Supplies to bring for 2D Wednesday

  1. Pencil, smudgy charcoal, ink
  2. Eraser(s)
  3. Rag
  4. White paint of any kind you have
  5. Perhaps white out tools
  6. Perhaps 1 dang art tool like a cheap brush
  7. A variety of surfaces to work on (paper, cardboard, newspaper, etc)
    Also consider any surface that might relate to your story. One can work on the side (inside or outside) of a suitcase, a trash can, a tire, a door, a window, a boat, fence planks, etc. Any surface which can have white paint applied to it to function as the ground and then can have ink, pencil, or charcoal applied to it. You may have to harvest surfaces to bring Monday if they are not accessible today.

        Mark making by Katy

    Reread your story and see if their is a natural surface that would make sense from your story that might function as the surface to draw on. Paper may be best choice. I simply want you to think outside the box and see what comes to mind.

  8. A printed copy of your original story and revision or rewrite. (Bring from now on)

Monday, February 28, 2011

2D HW assigned 2/28

PART 1: mental imaginings, lists and Q&A

Visualize a series of objects. (1) Make a list first of 15 objects (nonliving or living),  (2) then work through it, mental visualizing each object from multiple angles, and (3) see if you can determine a pattern in your own imaging ability. (4) Now add a motion or change to each object in your list (ie if you visualized your mother in first list, now visualize her breathing or sneezing or gasping), (5) visualize each and see if you can determine a pattern in your own imaging ability. (6) Post lists and answer to (7) questions on your blog
  1. Are you better at visualizing people than objects? Or worse?
    What seems to be mentally different?
  2. Are you better at two-dimensional objects than three-dimensional? How so?
  3. Where do you see your image?
  4. Is it out in front of your eyes or back in your skull somewhere or somewhere else?
  5. What is brought to bear in these instances is a keen sensitivity to a non-modular perceptivity of sense-data. Why might this be important in your field?
PART 2: your Story LINE

LISTS from your story line (most current). Make a list for each type of sensation referenced in your story LINE.
  1. Sight
  2. Sound
  3. Smell
  4. Touch
  5. Taste
  6. Balance (equilibrioception)
  7. Temperature (thermoception)
  8. Pain
  9. Pressure
  10. Motion and acceleration (kinaesthesia)
  11. Direction (magnetoception)
  12. Temporal (sense of time)
Make an additional list recording all types of emotions or mood referenced in your story line.

Post lists to blog and bring hard copy to class Wednesday


Choose 3 items from any of you story lists and translate each into 3 distinct mark drawings (= 9 drawings) representing your story's sensation/mood/emotion. You should spend a minimum of 10 minutes per drawing, recommend 15-20 per drawing (between 2 – 3 hours on your drawings). You may use any technique and material we’ve done and used in class or as homework. From your blog posts the charcoal ghost drawings with significant erasures seem strong and interesting.

Goal is tearing the language based sense reference out of its habitual context (thus achieving) by translating it tactilely into a visual reference creating a heightened awareness of sensory texture relevant to your story for the viewer.

Sunday, February 27, 2011

Saturday, February 26, 2011

BLOG check list
I will be using for grading

Download the BLOG check list this weekend and confirm your blog is up to date. Complete for Monday.

Write ups will be graded (letter grade). Each write up should include a process image or final image. All completed projects should have a final image(s) posted.

All other posts should include images with explanation of pictures.

You can put your posts loosely in the correct order by back dating them. In Edit  Post in bottom left corner click Post Options then select new date. Post don't have to be in exact order, but close would be nice.

STORY LINE: Readings Monday morning
plus revision/rewrite

Before Monday morning you should post your revision or your rewrite to your blog. If you've emailed me your original or revised for privacy, please make a blog post for each titled either Story LINE and Revised/Rewritten Story Line and then in body just note that you submitted by email.

Click to read an example original Story LINE and rewrite by Zack.

I am interested in having a handful of you read your story LINEs aloud on Monday. If you are interested in doing so, please email me to say YES and include a copy of what you intend to read.
  1. If you want to read yours, consider and PRACTICE the following use of
  2. Space (positive=talking; negative=silence [pauses])
  3. Value (voice volume and force)
  4. Contrast (variation in space and value)
  5. Rhythm 
  6. Direction or movement (voice modulation???)
These items are used to create interest, tension and focal points with the reading. Use of space, particularly negative space, is one of the most important features of storytelling. Consider laying out your text in a way that lets you know when to put in your silence (breaks in lines, long spaces, etc). This will help you read it the way you intend even when you get nervous up front.

LECTURE blog reminder

Your mapping lists should already be posted, if not get them up before Monday.
If you are sending them directly to me via email, make a post title Mapping lists and then write emailed.

Friday, February 25, 2011

OMGosh! Let me tell you about ANGER!
A ranting improve monologue on anger or...

I will keep adding as I am able more videos to this post...may take a bit.

Here is this weekends Monologue Assignment
Here is text, in the making, Lecture 4 (2/25) Assignment

Way to go Keenan! Awesomeness. Now we shall all go home and cry in the shower!

Martin and SPAM

Thursday, February 24, 2011

Mapping instructions that are a little less confusing

For your artful mapping pleasure I have updated handout so it is less confusing. Hopefully. Must have because many of you are putting up good lists. Those lost, visit your fellow WASHers' blogs and check out what they are writing (listing) about.

Lecture Project

  1. READ in the making pgs 120-149.
  2. Diagram a 2d or 3d Autobiographical Internal/Private World via mapping/painting/collaging/ constructing/assembling
Consider an overarching theme or method to unify the work. This is to be an art piece.

Step ONE
Generate a series of self reflective/life lists for the following (post to blog or if of a private nature email to your professor). Due Friday, February 24

Lived locations [birth to current]
    significant memories of spaces in or around your different homes

Significant relationships in each location
    The nature of the relationship
1. Physical
2. Emotional
3. Spiritual
    How those relationships changed from location to location and as you aged

Significant things said to you that you can almost still hear in your head.
    Both positive and negative
Educational experiences--schools
    considering early childhood, late, pre adolescence, adolescence, early adulthood –
    may project into your future – adulthood, old, not dead yet, dead
1. Significant peers [why?] both positive/negative
2. Significant adults [why?] both p/n
3. Significant things said to you that you can almost still hear in your head. Both p/n
4. Significant objects [why?]
5. Significant cause [why?]
Experiences of loss or absence
Experiences of joy or belonging
1. Significant peers [why?] both positive/negative
2. Significant adults [why?] both p/n
3. Significant things said to you that you can almost still hear in your head. Both p/n
4. Significant objects [why?]
5. Significant cause [why?]
Spiritual evolution/path. Changes over time? [why? who influenced changes?]
Sexuality or gender evolution/path or relationship to the body
Pain or crisis or losses
Dreams, hopes or desires
Other threads to possibly also explore in terms of the evolution of these things in your life
1. Character
2. Limitations
3. Passion
4. Strengths
5. Abilities and competencies
6. Fears
7. Calling
8. Understanding of people
9. Understanding of culture
10. Understanding of heritage
11. Ancestral heritage
12. Materialism
13. Goals
14. Why do you want to be an artist, animator, designer
(when did that desire begin; what fanned the flame and kept it going)
15. Within your field what specific things are you interested in?
(when did the desire or compulsion begin; what fanned the flame and kept it going)
Are these changing? How so?
16. Personal narrative, quotes, journal entries, poetry, song lyrics, etc
Step TWO
Create some experimental diagrams of information from lists--possible directions of diagrams: chronological, relational, geographical, spiritual, educational, ancestral. Try to overlay all info within each system tested

Explore and develop signle thematic systems for diagramming or presenting information. Some samples from other fields to consider: scientific--periodic table, insect collections, molecular structure, solar system maps, constellation maps, globe, cellular structure, etc; medical--body diagrams, surgical procedures, diagnostic flow charts, etc; architectural--residential blueprints, ship design blueprints, etc; industrial design; electrical engineering; geophysical--maps of earth’s layers, sonic maps of oil fields, ocean floor maps; consumer culture, ikea assembly procedures, concert online ticket seating selection, menu, package ingredients, game board (ie monoply), mall store locator map, etc; other--family tree,

Show for relationships and connections; cause and effect.
Incorporate or reference visual methods or source inspirations, quotes, subject matter, etc from two to three artists we’ve studied in class or in textbook (includes all artists covered to date) that inspire you into your map. Note either in the piece itself or on back the artists you are referencing and how so. Artist list is at end of this section.
Develop unified aesthetic style system of information presentation.
MAKE it--can take almost any physical artform design, sculpture, painting, relief, installation, artist book, photographic series, etc


1. Post 3 images of project (one of whole and two detail shots); if it still in listing stage post all lists.
before Friday, Feb 25

2. Post 3 [more] images of project (one of whole and two detail shots) and a short narrative about what method you are using to execute this project and why you’ve chosen it before Friday, March 4

3. Post 3 [more] images of project that shows your progression from Friday, March 4. Post before
Friday, March 11

4. Actual art object DUE Monday, March21/Tuesday, March 2. Bring to Studio at 9:30 am. If it needs set up, set up the night before in WASH House.

Note this is an actual assemblage created in real space whether 2d or 3d art object based on mapping personal history; it is not a virtual structure or simply a print out of a structure created in the computer.

Wednesday, February 23, 2011

Homework assigned Wednesday, 2/23

2D—Mark Making 2/23 HW
Gestural emotive marks via smudgy charcoal, rag, and eraser

Three drawings for three distinct pieces of music (total= 9 drawings)
Listen to music and repetitively use a gesture that suggests the mood of the music (repeat gesture for 5 minutes). You may also want to experiment with repetitive smudging along with the marks. Minimum size 11x13.

Ghost marks
Two drawings for two distinct pieces of music (total= 2 drawings) Minimum size 11x13.
Drawing ONE, STEPs
  1. Draw repetitive gesture dictated by mood of music for 3 minutes.
  2. With rag, wipe away drawing
  3. Repeat #1 to same music
  4. With rag, wipe away drawing
  5. Selectively erase residuals lines or smudges to create negative space
  6. Repeat #1 for third time
  7. If needed, erase more
    by Krystal
    by Katy

Drawing TWO, STEPs
  1. Draw repetitive gesture dictated by mood of music for 3 minutes.
  2. With rag, wipe away drawing
  3. Repeat #1 to same music
  4. With rag, wipe away drawing
  5. Repeat #1 for third time
  6. With rag, wipe away drawing
  7. Repeat as many times as you choose to build up surface for next step
  8. Draw a repetitive gesture dictated by mood of music for 3 minutes with your ERASURE
  9. If drawing feels done, so be it. Otherwise repeat any of the above steps to your hearts content
  10. Use any mark making method we have tried so far on creating a representational drawing.

Choose method we used in class or homework and use that one method for entire drawing. (1 drawing) ?????

FINISH Story LINE revision and post to blog
sample rewrite The other side by Zach
I abandon the house and head for the field,
Where the grass has grown too tall to cut.
Towering above the grass is a lone pine, whose trunk is like a silo.
The smell of diesel drifts through the air as I pass the tool shed.
I reach the fence and carefully grab between its barbs.
As I push down, the staples growl until I release them back into silence.
I walk down to Bell's pond where cows wade in the dark water.
They don't seem to mind the rocks skipping past them.

I abandon the house and head for the pines.
Slipping through lines of spindled rust
I enter a new world that smells like sap.
Spiders stitch webs in fallen needles
And crows lay eggs in broken tree tops.
I run through the corridors of cedar saplings
And leap across a shallow creek with steep embankments.

I abandon the house and head for the pond,
With a friend and a boat in tow.
We have trouble getting it over the fence,
And end up having to toss it.
Carrying it through briers and honeysuckle bushes
We make our way down to the pond.
The instability is apparent as we watch the boat
Rock violently in the muddy water.
Heedless to its warnings, we grab sticks
to use as paddles, and climb aboard.
Blinded by a false sense of bravery
We push off from land and begin to paddle.
Grins sweep our faces
Until the boat topples us into the water.

I abandon the house and head for the fort.
I jump the fence in the corner of the yard
Where the thick posts provide good footing.
The ladder shakes as I hurry up its rungs.
I sit down in the fort's cedar belly,
Surrounded by names and sayings carved into its sides.
My pellet gun rests against the wall as I scan the surrounding trees.
A pine cone at the end of a branch comes into view and I put a pellet in the chamber.
I raise the gun and find the cone with the scope.
Holding my breath, I squeeze the trigger, and watch the pine cone fall to the forest floor.
The wobbling branch sends birds from their nests.
They are too simple to know I would never harm them.
MATERIALS (for Monday)
ink, lots of paper, cup or large mouth object for ink, a large assortment of non art objects to dip in ink, funnel if you already have one
Bring all drawings to class
HW 2/21 on blog
HW 2/23 on blog
Story LINE rewrite

3D—Monologue pre-Friday homework
Complete lists from lecture on mapping and use as source material for developing MONOLOGUE IDEAS…before FRIDAY
Harvest ideas from mapping lists for raw source material or inspiration for your monologues which can take the form of rant, chant (original), chewing out, persuasive, state of the __ address, humorous, declaration, manifesto, diatribe, converse, homily, debate, sermonize, pitch, soapbox, pep talk, instruct, scold, scoff, telling off, give a talking to, berate, reprove, praise, beg, dress down, lambast, call down, chew out, acclaim, commendation, eulogy, tribute, laud, debate, bombast, tirade, or a confession.
sixty seconds
no cuts
no editing
YOU (only)
Choose two distinct monologue forms
Language based (you = sound symbols from your mouth)
things to consider
background within shot
peripheral (distractions?)
framing shot—close up, ultra close up, medium, etc
camera angle—bird’s view, worm view, etc
facial expressions—eyes, mouth, etc
body mannerisms—hands, posture, etc
voice (loud, soft, variations, steady?)
energy of monologue
(expected relative to topic or counter on purpose)
review, revise, reshoot once
review, revise, reshoot twice

Two different monologues, 60 seconds each,
harvest content from mapping lists (your life)

shoot 3 of each (totaling 6)
upload to an account you create for yourself with
email me the url for each video (in one email) before Monday
you may have to setup an account but you should be able to do this via your blogger/google login and password (I did)
embed all six in one post on your blog
Burn all six to cd or dvd; write your name, WASH Spring 2011 and Monologue with sharpie

MATERIALS (for Monday)
Monologue necessities
CD/DVD with your six monologues
Video camera (camera, phone, laptop)
Spare batteries, charger, transfer cables

Final images of MM along with insights of class crit
Post 6 monologues to blog. Title Monologue ______ Rant, Confession, or whatever method you chose, etc…

Bill will present more info on Monologues this FRIDAY

Homework assigned Monday, 2/21

Mark making
  1. draw 100 parallel lines with your eyes closed
  2. attack the page with a mark making tool

    Krystal attacks the page with a sponge

  3. draw 200 lines. 100 with each hand at the same time
  4. crumple paper and smooth, then draw lines (4 minutes)
  5. fold paper and smooth, then draw lines (4 minutes)
  6. tape your page down, write your name 100 times with your eyes closed
  7. tape your page down, write a thought over and over until the page is full (plus 10 minutes?)
  8. bring drawings to class on Monday
  9. photograph each carefully (no arm or camera shadow).
    Experiment with cropping and/or zooming.
    Post 5 most interesting photos before Friday.
STORY LINE – get at least 4 reviews of your story using the handout
REVISE REWRITE story line – post to blog

Pre crit write up for Modular Madness
needs done before Friday. See downloadable handout.

LECTURE—Read textbook in the making, chapter on inspiration
Post all mapping lists to blog.
Interpret requests per your understanding (see lecture 3 handout—mapping)

Your Modular Madness write ups are due NOW

You need to post them by 9 am today.

Write up guide (respond to all questions in post)

Tuesday, February 22, 2011

Prep for Modular Madness critique
to be completed before Wednesday

Review and respond (download handout) to each of the following in regards to your project and process. Post  your responses and an image (may be process image) to your blog before Wednesday, February 23, 9 am. Choose three major categories to present to class (limit self to 3 minutes). Quickly tell us why you choose these three? Then present the three. BE SPECIFIC.

  1. Sensitive use of materials: does the form of the overall piece respond to or resonate with the objects chosen as modules?
  2. Could the piece be made from another object just as well, or is there precise/necessary correspondence between the objects and the structure?
  3. Explain any material difficulties in usage?
  4. Meaningful discoveries?
  1. Does the piece rise above the ordinary in terms of scale, materials or effort?
  2. How did the piece change from initial mental imaginings to final piece?
  3. Was the initial idea or final piece more ambitious? How so?
Is the way the piece put together helping the overall effect or distracting from it (How so?)
  1. What are the dominant formal elements (point, line, shape, color, texture, value, space) visible in the work? Are these elements important to the piece? In what ways?
  2. What are the dominating principles (scale, hierarchy, repetition, rhythm, unity, contrast, balance, space, gravity, continuance, similarity/difference) visible or implied in the work? Explain how each dominating principle helps strengthen the impression of the work or detracts.
  1. Does piece relate to the source objects history, function or purpose?
  2. If so, how?
  3. How does the presentation of the piece alter the viewers understanding of the source object?
  1. Why here?
  2. What is the relationship of the work to the space?
  3. How do the surrounding elements impact the viewing and impression of the piece?
  4. Does the piece respond or ignore what is around it? How so?

MM pre crit write ups
Martin's is a great example.

excerpt from Martin's form and concept write up

What are the dominating principles (scale, hierarchy, repetition, rhythm, unity, contrast, balance, space, gravity, continuance, similarity/difference) visible or implied in the work? Explain how each dominating principle helps strengthen the impression of the work or detracts.

The main dominating principles found in my piece are repetition, contrast, and continuance. The repetition found in the piece comes from the cups following each other in sequence. This also runs into the continuance, which can be seen in the way the cups flow in one direction and in relation to the other lines of cpus around it. There can also be contrast seen in the variation between the white space found on the edge of the cups and the vibrant red colors. This strengthens the piece overall by keeping the viewers eyes locked onto the object.

Does piece relate to the source objects history, function or purpose? 
If so, how?
The piece relates to the objects function in the way that instead of a liquid coming out of the cup like would normally occur there is instead a procession of cups coming out.

How does the presentation of the piece alter the viewers understanding of the source object?
It creates the sense that the cups are alive rather than an inanimate object through the placement of the cups in a flowing way.

Monday, February 21, 2011

2D Mark Making HW part I (2/21)

Monday 2/21 Homework due Monday 2/28
  1. Mark making (use simple repetitive gesture). Each drawing should be on its own sheet of paper.
    1. draw 100 parallel lines with your eyes closed 
    2. attack the page with a mark making tool (pencil, conte, charcoal, ink, etc--choose one)
    3. draw 200 lines. 100 with each hand at the same time 
    4. crumple paper and smooth, then draw lines (4 minutes)
    5. fold paper and smooth, then draw lines (4 minutes)
    6. tape your page down, write your name 100 times with your eyes closed 
    7. tape your page down, write a thought over and over until the page is full (~10 minutes?)
  2. bring drawings to class on Wednesday
  3. photograph each carefully (no arm or camera shadow). Experiment with cropping and/or zooming. Post 5 most interesting photos before Friday.
Wednesday 2/23 HW tba (check back with blog)

Sunday, February 20, 2011

it is time to write!

Quit surfing >.< and go find a quiet space to write your STORY LINE. Post to your blog. If it is way to private to publically post there, email it to me (you will still need to bring 6 printouts).


We will evaluate your stories tomorrow according to this guide.

Also bring lots of paper, a bunch of sharp pencils, ink, big mouth container to hold ink and weird objects to dip. Plus anything you need to complete modular madness and install.

here is an excellent WOW
human comp crit write up

not only does Chinny have both her (2) human comps and (2) b&w source comps posted but her crit write up covers the areas I requested. Chinny's post is worth reading as a sample of a WOW "A" write up sample. These write ups and images are part of what determines your blog grade. the crit handout is posted in downloads column if you need to review what is requested on this write up. Well done Chinny!

HERE IS A SNIPET from her blog.

This is how we critiqued ourselves:
Selection/Revision: It was really weird, but very cool how easily we could pick out the best compositions to portray from each table member. There were microscopic differences, but those were solved so quick that they barely even happened. After shooting, we reviewed each others photos, asked who wanted to redo and then went back out and did just that, brainstorming again if we got stuck.

Theme/Human Element: Through a group brainstorm we decided to use emotion, but since we planned to use the boxes on our heads our table needed to channel our inner "Tyra" and speak with our bodies. A somewhat difficult task, but we performed it very well. Only on two compositions, we felt we lost our emotional element. Because of that we gave ourselves a 4. Maggie was a keystone in creative solutions, I thank her on behalf of the table.

Friday, February 18, 2011

Human comps

Post your teams (1) critique of your human compositions, post your two (2) photos and (3) the original drawings that coordinate with them. GET IT DONE THIS WEEKEND!

Table 3 (ONLY) each of you may submit your images digitally (usb transfer) directly to me, if you would prefer your compositions to remain private.

Lecture #3 (2/18) Inspiration/Creativity
kathy's crazy lecture notes

  1. Elmo notes (hand written)
  2. Videos and slides
  3. Mapping project 

Menil projects were turned in today in class.

Reminder on absences and tardies.
Three absences and grade is negatively impacted.
Six absences and you fail (excused or unexcused).
Tardies equal 1/2 absences.
A "D" in any of the three sections of WASH results in having to RE-take all three sections AGAIN!

Wednesday, February 16, 2011

The story LINE

Choose one of the 4 themes below and write about YOU AND LINE (visually, auditorally, tactility, literary, relationally, socially, politically, territorially, physically, metaphysically, spiritually, etc”ly”)
    Choose one memory from your life that involves crossing a line
    and tells us that story. Post to your blog.
    Choose one memory from your life that involves staying in line
    and tell us that story. Post to your blog.
    Write about an imaginary line you hold in your mind for some reason. Post to your blog.
    From a photo you have shot of some type of line,
    write a story real or fabricated about this line and this photo
    and your relationship to it.
This is a short story, real or mostly real, serious or humorous, hard truth or slightly altered truth, mundane or wildly adventurous, safe or scary.

Consider writing it in a way that would not bore you (or me)—a children’s story, fable, fairytale, journal excerpt, song, poem, comic strip, sci-fi, end of world, storyboard, as a description a story embedded in a painting, newspaper article, news story, history book excerpt, letter, prayer, etc.

Don’t forget some degree of tension – whether taught or a balancing of tension, include it.

The theme is LINE and it should relate to YOU and your experiences or mental ponderings that already exist!

Story due Monday prior to 9 am—posted to blog
Story due Monday at 9:30 am—bring 6 printouts of post

  1. go for a walk and shoot a series of photos of observed  LINE
  2. take multiple photos of each instance at different angles, distances, and image framing
  3. post best 5 to blog (prints due a week from Monday)
  4. post additional image most relevant (even if abstractly relevant) along with your short story

just fun line to play with

Tuesday, February 15, 2011

Human comps posted to your blog

You each should have your two human comps
posted on your own blog and bring 5x7 prints tomorrow. 

Human Comp from Emily

Please add images of your original source B&W dot or square comp by Friday.

And two sets of your independent photos are due tomorrow

 by Jeremy

 by Zack

Streakers at WASH
Close your eyes

Table seven's (Hannah, Ollie, Alexandra, Dante, [a little extra help from table 1, Wendy], Katie, and David) second try because the first try...well kind of duded. This is were seconds become firsts. Thanks for making this project easy to grade and funny!


2D :: This studio course introduces the studio arts, contemporary art history, theory and technology to the incoming student. It is designed to immerse students in an intense program of researching, interpreting and creating art in the twenty-first century. ART 130 emphasizes the 2-Dimensional Arts but pushes into the 3rd and 4th as well. Its companion courses, ART 131 and ART 132W, support this studio course with lectures, readings, visiting artists and demonstrations.

3D :: This studio course introduces the studio arts, contemporary art history, theory and technology to the incoming student. It is designed to immerse students in an intense program of researching, interpreting and creating art in the twenty-first century. ART 131 emphasizes the 3-Dimensional Arts as well as pushing into the 4th Dimension.

Lecture :: This course introduces the concepts, theories and information for development in ART 130 and ART131, the studio components linked with this visual arts foundation course. It is an arena for students to experience lectures, demonstrations, seminar activities and visiting speakers, as well as the more traditional aspects of the discipline. It is geared towards contemporary visual concerns and uses experimental techniques to expose students to an array of styles and methodologies.

Think bootcamp for artists!