January 25, 26, 27--eight started, five finished February 22, 23, 24--ten started, eight finished March 22, 23, 24--15 started, ten finished April 26, 27, 28--15 finished
August-September Course Work:
Construct a visual journal
“River” for sustained investigation. Your river should contain, but is not limited to: drawing/painting, writing, collage, brainstorming, connections, contrasts, banks, streams, movement, growth, and questions.
Bi-monthly visual journal entries-September 12 and 26
15 consecutive day self-studies due the last day of September. Each self-study should be different in combination of materials and conceptual intentions.
October Course Work--Open Studio: En Plein Air Sustained Investigation: begin 5 works simultaneously
10 studies in your visual journal, each with a different material/combination of materials:
Observed landscape 5 ball point foliage studies Define juxtaposition visually Play with Abstraction Portrait with interview A Portrayal of your safe space Foreshortening Dada poem and illustration Draw/paint your favorite song Set up a still-life, draw it, distort it, repeat three times
November Course Work Conversation about INSPIRATION
A portrait of your mentor/hero/someone you look up to…media: collage or assemblage…size: 11x14 or larger
Continue to work 5 sustained investigation artworks SIMULTANEOUSLY.
December Course Work
Weekly visual journal entries Sustained Investigation work
Some powerful sustained investigations: Barbara Kruger (installation artist, graphic designer), Mark Bradford (painter), Julie Mehretu (painter), Kehinde Wiley (painter), Jenny Saville (painter), Francis Bacon (painter), Robert Rauschenberg (collage artist), Louise Bourgoise (drawer, painter, sculptor), James Jean (digital artist), Eva Hesse (sculptor), Janine Antoni, Ana Mendieta, Cindy Sherman (photographer), Nikki S. Lee (photographer), Kerry James Marshall (painter), Jenny Holzer (installation artist), Andy Goldsworthy (installation artist).
Sustained investigation Reminders: +Think of each artwork within the larger context of the series. Think of the series as an album and the artworks as the songs. +Work on multiple pieces at a time so they can inform each other. +Try not to “begin” and “end” pieces, rather work on them continuously. +Think of the artworks as sentences of a paragraph - parts to/of a whole. +Arrange individual artworks, but in a flexible order. +Let your ideas evolve during the production of the artworks instead of turning them on and off. Let them move in and out of each other. +Keep commonalities between works. +Working on artworks over an extended period of time allows more insight, exploration, and consistency. +You are ultimately introducing the element of time, the passage of time. Art is not made in a fragment of a moment, nor is it experienced that way.
1. Draw/paint/collage the opposite feeling than you are experiencing right now. 2. Design a personal symbol and create a personal mantra. 3. Respond visually to any the following: -Fuel in the fire. -Underneath. -Monochromatic garden. -Bridges 4. Take a walk outside. Look for the following and capture in your visual journal: -something tiny inside of something huge -something confusing -something organic merged with something mechanic -an object shape cloud -a sentence made of found words 5. Find an artist to collaborate with, make a scavenger hunt list or an instigation list for each other to investigate. 6. Draw/paint yourself, three styles in one sitting...Cubist, Minimalist, Impressionist. 7. Make an illustrated list of positives from this semester/this year.
Visually represent one of the following: 8. I'm in a jar. 9. Floating with despair. 10. Joint points. 11. Window v. mirror. 12. Reflex or reflection. 13. Lost not lost. 14. Hit the highway. 15. Start anywhere. 16. Paralyzed by fear. 17. Momentum. 18. Make marks with nature. 19. Visually describe your person of admiration. 20. What are you binging on? How can you interpret that into art? 21. Ball point pen hand studies.
Collaboratively Conceptual Choose one idea or make combinations. 22. Expansion of self-acceptance 23. Fluidity of experience/the self 24. Forced energy 25. Basic needs to meet 26. The feeling of air 27. One day at a time 28. Parameters set 29. Parts to a whole 30. Measure up 31. I'm impenetrable now 32. Pressure points 33. Balance and chaos
WHAT IS THE MOST IMPORTANT FACTOR ART HAS TO OFFER? creativity inspiration understanding communication connection through barriers narrative expression relating experiences placing one's self in the world education subjectiveness change perspective
Below is an interview between Kerry James Marshall and ART 21. Please take a moment to read the article and browse the images.
Whirlwind. Dorothea Tanning and Karina Hean Marchel Duchamp and Edvard Munch Julie Mehretu and Claude Monet Write about four of the images below. In a 5-7-5 haiku style. Click on the image to enlarge it.