FPA 261, Visual Art Studio
Judy Radul: jaradul@sfu.ca
Tuesday/Thursday 9:30 to 12:20
Class Schedule/Week by Week scroll down
Helpful Notes: How to Work on Work, self analysis while making projects. You can also use this as a guide to chat with each other about projects
Discussion and Production Topics:
Methods of Production/Forms
Framing
Semiotics of Theatrical Performance, Umberto Eco. The Drama Review: TDR , Vol. 21, No. 1, Theatre and Social Action Issue (Mar., 1977), pp. 107-117. Published by: The MIT Press Article Stable URL: http://www.jstor.org.proxy.lib.sfu.ca/stable/1145112
Excerpts Gilles Deleuze, p. 12-18, Ch. 2, from Cinema 1, The Movement-Image
Relation /juxtaposition/negation/branch/intersubjective/
The link takes you to some artworks which can be discussed as producing/working with “relations” between things. I don’t mean “relational aesthetics” which was most charged by producing a relation between spectator and art, a relation that might be referred to as “participation” or perhaps “ingestion” (as there were a lot of eating performances which seemed formative of the concept).
Lets think about a whole range of relations but keep them specific. It could be said that art works are made up of relations, a relation could be a version of a “composition.” So if you start thinking with compositional terms, you can have relations of: proximity, close, far, infront of, behind, relations of colour can be expressed as contrast, gradation, value, etc. Other relations which come easily to mind may be familial, that is relations of kinship. What artworks have relations of kinship? What would a device to produce kinship in art be? Of course politics and political thinking is full of relationships, a dialectical relationship, a material relationship, a agonistic or adversarial relationship, relationship of equality, relation of subservience, etc etc. Language is full of words that create relationships, they are called “conjunctions”, you know…but, and, so, for, and, no only, etc. So these words are relational “devices” in and of themselves.
How to make a STUDY as a part of an artistic work/practice
A whole set of notes and reference can be found at the link above. Think about all these possibilities in relation to the material of your study. There are an extensive set of operations that might be considered aesthetic modes of study. Addition/Subtraction/Reference/Duration/Reiteration/Quotation/Appropriation/Mimesis/Negation/Extension/Contraction/Space/
Collect in your studio space materials condusive to your study, these may be paper, carboard, paint, objects. Please try to not rely too heavily on internet clippings.
Methods of Analysis: Historical, Cultural, Marxist/Dialectic, Semiotic, Empirical etc. Notes from Eagleton and Massumi, etc. here
CLASS SCHEDULE
Thurs Jan 5
Make 4 framing devices. These are not frames. Do not make frames. Make some kind of device or apparatus or tool that can be used for framing. Consider the concept of the ‘frame’ in broad and multidimensional terms. What kind of frames can be produced, spatial, durational, etc.
Perhaps you want to try a frame that reflects the golden section, here are two resources:
http://www.mathsisfun.com/numbers/golden-ratio.html
http://www.theartofpainting.be/EDA-Golden_Mean.htm
Tues Jan 10
Please come prepared to show and talk about your four framing devices. Begin to stock your studio with art materials. What do you need? What can you surround yourself with. How will you store it. Please include reference images.
Begin drawings of shop project. Possible ‘Sketch up’ workshops.
Sketchup tutorials: http://sketchup.google.com/intl/en/training/videos/new_to_gsu.html
Flattery plugin for making 2 D patterns from Sketch up
http://www.pumpkinpirate.info/flattery/
Thurs Jan 12
Finalizing Drawings of shop project
Post about drawing/measuring/types of joints etc
Tues Jan 17: Shop Workshops/Work on Shop project, and come prepared to work on other work in progress as not all can be in shop at once.
Thurs Jan 19: Please come prepared to show and talk about your four devices that create “relation”.
Shop Workshops/Work on Shop project, and come prepared to work on other work in progress as not all can be in shop at once.
Tues Jan 24: In class work, discussions.
Thurs Jan 26: In class work, discussions.
Tues Jan 31: In class work, discussions.
Thurs Feb 2 : In class work, discussions.
Kota Ezawa Artist Talk at Woodwards at 12:30 today!!
Tues Feb 7 :PRESENTATIONS/CRITS Using one of your framing devices and one of your relational devices, create a work for presentation. If you want to use a new/different framing or relational device that is OK. The goal is that you continue to think of these aspects of the conception and production of the work. One idea we are trying to explore is that that making artworks can also involve rethinking/making the MEANS BY WHICH the artwork is made. These means are what we are calling “devices” they could be called tools, or apparatus’ however it is important to see that the material and the conceptual aspects of the “device” are linked. That is why I favour the word device, it doesn’t conjure the purely functional.
Krystal, Kun, Filipe, Sherry, Coco, Dionne, Adrienne, Harlan, Taylor, Susan
Thurs Feb 9 :PRESENTATIONS/CRITS Using one of your framing devices and one of your relational devices, create a work for presentation…(as above)
Darya, Nicole, Lindsay, Katy, Dana, Amanda, Angela, Naghmeh, Brendan, Emily
Tues Feb 14 Spring break
Thurs Feb 16 Spring break
Tues Feb 21:
(finish crits)
Come prepared to discuss the latest issue of “Afterall”, it would be great if you want to get the paper journal, it is available at Read books at Emily Carr.
http://www.jstor.org.proxy.lib.sfu.ca/stable/10.1086/662979 (sign in to jstor through SFU account)
Consider as a whole how all the articles fit together to express the magazine, this issue of the magazine, research a little about “Afterall” who produces it, who advertises in it etc.
For the articles concentrate on reading these two and we can discuss them:
TROPICAMP: PRE- and POST-TROPICÁLIA at Once: Some Contextual Notes on Hélio Oiticica’s 1971 Text
MARIO MONTEZ, TROPICAMP Hélio Oiticica
Documents of Oiticica exhibition at Tate Gallery http://www.tate.org.uk/modern/exhibitions/heliooiticica/guide.shtm
Thurs Feb 23: In continuing to think about the production of two “studies” take a look at Oticias “Bolides” which although shown as artworks, also seemed to function as smaller versions or studies for the larger sculptural installations that followed. http://www.tate.org.uk/modern/exhibitions/heliooiticica/rooms/room7.shtm
Other words for “ARTIST” in class notes : http://www.judyradul.com/courses/?p=663
Tues Feb 28: In Class Work
Thurs Mar 1: In Class Work
Tues March 6 PRESENTATIONS/CRITS
For this work, make two “studies” of a proposed work. The studies can be in various forms, text, image, 3 D model, digital model etc.
Krystal, Kun, Filipe, Sherry, Coco, Dionne, Adrienne, Harlan, Taylor, Susan
Thurs March 8 PRESENTATIONS/CRITS
For this work, make two “studies” of a proposed work. The studies can be in various forms, text, image, 3 D model, digital model etc.
Darya, Nicole, Lindsay, Katy, Dana, Amanda, Angela, Naghmeh, Brendan, Emily
Tues March 13 : In Class Work
Thurs March 15 : In Class Work
Tues March 20 : In Class Work
Thurs March 22 : In Class Work
Tues March 27 : In Class Work
Thurs March 29 : In Class Work
Tues April 3 PRESENTATIONS/CRITS
For these crits you should complete two works, one work which extends from the study you did for the last crit, and another work, the theme and material is of your choice, however this is a good opportunity to think about how two works can complement each other, or “talk” to each other.
Dana, Kun, Filipe, Sherry, Coco, Dionne, Adrienne, Harlan, Taylor, Susan
Thurs April 5 PRESENTATIONS/CRITS
For these crits you should complete two works, one work which extends from the study you did for the last crit, and another work, the theme and material is of your choice, however this is a good opportunity to think about how two works can complement each other, or “talk” to each other.
Darya, Nicole, Lindsay, Katy, Krystal, Amanda, Angela, Naghmeh, Brendan, Emily
Tues April 10
CLEAN UP, attendance mandatory!
Grading
Projects: 60 percent
Knowledge of, informed relationship to Contemporary Art as articulated in class discussions, reference materials, ongoing research and projects. 30 percent
In class assignments, participation, workbook/Sketchbook/Reference Archive. 10 percent
Absences, failure to keep studio clean, install and deinstall work in a timely and professional matter, result in loss of marks.