theory & practice

Art Theory and Practice, 498
Anita Allyn email: allyn@tcnj.edu Office: 347 Holman Hall Office Hours: Mondays, 3-5 Tuesdays, 3-4pm http://www.tcnj.edu/~allyn	CLASS BLOG DISSCUSSANT SCHEDULE 1st floor EXHIBITION Equipment Reserve class email list >

Suggested artists to investigate
	James G	Tony Oursler / Mike Kelley	Ryan	Eric Beltz / Amy Wilson
	Lauren	David lachapelle / Mary Mattingly	Cody	Mathew Day Jackson
	Nadia	Holly Andres	Anna
	Michelle	Jason Middlebrook	Kerrin	Mark Lombardi
	Kate	Do Ho Suh	James S.	Barry McGee / Jeremy Blake

COURSE DESCRIPTION What does being an artist mean? What constitutes a body of work for your specific investigation and what does it mean to complete an open-ended inquiry versus a "realized project" ? What are important concepts and dialogues in our present culture? Where are you in relationship to these dialogues? What motivates you? What interrupts your working process? What makes you stuck and blocked when problem solving? What are methods to problem solve when you get stuck?
This first-semester capstone course will help you synthesize your experiences in undergraduate school and prepare you to bridge the gap between your studies here and graduate studies or professional employment. In order to accomplish this synthesis, you need to be ready to work, to question, to make new connections and be committed to your process. It also helps to be honest, direct and motivated. This class is unlike any other in your experience at tcnj, in its purpose and process.... It will test your maturity and creative independence in a new way.
This course instigates ongoing group discussion relating your creative endeavors to those of fellow students and to society as a whole. You will be expected to work on self-defined projects and present them on-going throughout the semester. Weekly readings will be assigned from resources including materials from books, periodicals, and gallery exhibits introducing you to a wide range of historical, theoretical and philosophical approaches to contemporary art. Artists' writing is also examined and you will be encouraged to articulate your ideas in an appropriate written form. You should plan on visiting as many galleries and museums as possible during the course of the semester. These discussions incited by readings and viewings will have an assigned presentation as a distinctive outcome. Additionally, images from your gallery/museum or related research will regularly be required and posted online on this class website. Concurrent with this, the class will incorporate field trips, guest speakers, visiting artists, visiting alumni, and organizations that support artists.

COURSE OBJECTIVES

-     Develop a mature body of work by pursuing established concepts or new directions. These works will culminate in a final exhibition in April 2009.

- Prepare for and participate in scheduled critiques. Be able and willing to describe process and intent.

-    Read all assignments and prepare for discussion. Different readings may be assigned to you individually, according to your particular needs and interests.

-      View at least four exhibitions during the semester in NJ, NY or PA. These exhibitions will be a component of your ongoing class discussion, please document the exhibitions that you visit and request a press release from the show.

-     Establish an informed historical vision of the developments that have established the Contemporary Art network from education to its diverse cultural and monetary markets.

-      Keep a seminar journal or notebook that will contain drafts of artist statements, studio notes, reflections on process and other personal insights.

-       Feed your vision of post-undergraduate aspirations.

COURSE WORK
I. Create a Body of Work throughout the semester.

Important dates:
	Weekly	Critique of work(s) in progress
	At least once in semester	Exhibit your work - first floor Holman
	September 9	Bring in 2 examples of your strongest works
	September 30	CRITIQUE Work response to studio challenge 1
	October 21	CRITIQUE Work response to studio challenge 2
	November 19	All faculty critique
	December 3	All faculty critique / Hand in documentation of your semester work

50% of final grade (15%, 15%, 20%) The goal of this semester class in terms of your studio work is to challenge your process and expectations to push yourself through your artistic process. Studio guidelines for generatnig new works will include 2 themes: Internal sourcing and External sourcing. Appropriate assignments will hone and extend your practice.

A. Work on your studio work consistently. The best way to solve your creative problems is to work through them. It is expected that you work at least 6 hours outside of class.

B. By week 2, be prepared to bring work-in-progress to class for feedback and discussion.

C. What constitutes a body of work will be an ongoing discussion. For some of you, making a drawing, a painting, a photo, an animation every day will be important to your process. For others perhaps working in various media is best to explore your ideas. We will discuss tactics to understanding your working process and how to maintain motivation and excitement.

D. The deadline of the final faculty critique (November 19^th and December 3^rd) will give you opportunity to set goals.

II. View and analyze a minimum of two exhibitions through the length of the semester ------

Important dates:
	NOVEMBER 2	Class trip
	October 7	Exhibition review #1 posted on blog with documentation
	November 11	Exhibition review #2 posted on blog with documentation

(10% of final grade)

EXHIBITION REVIEWS:
Write a brief review of exhibitions and present photo documentation on the class blog. You are required to visit at least two different artist talks and/or exhibitions from a museum or gallery outside TCNJ in addition to the required class trip *. The goal of this semester-long assignment is to keep you engaged with current work in exhibitions, enhance your critical writing ability and also to find work that you are excited about. When visiting exhibitions at galleries you may request the press release to learn how the exhibition is being promoted. In your written review please include the following:

--Name of exhibition and artist; name of gallery; date of visit; written detailed description of at least one work; analyze the intention of the artist and your reaction; how the work succeeds or fails.

III. Readings, Write-Ups and Reading Group Presentations --

Important dates:
	Weekly	Write-ups: hard copy & blog
	Weekly	Discussant

20% of final grade

A. WRITE-UPS
Weekly readings will be accompanied by brief weekly "write-ups" (10% of final grade) and discussion. Bring a hard copy of your write-ups to each class to reference and hand in. Write-ups should be between one and three pages and the content is to be your reflections and analysis of the readings, PLEASE DO NOT ONLY WRITE A SUMMARY.

B. DISCUSSANT
DUE DATE: Each person hosts at least once throughout semester
Each week's reading will have a presenter to lead discussion revolving around the assigned reading for that week (10% of final grade). PRESENTERS are expected to do supplemental research to contextualize the reading for the class that will help lead into discussion. You are encouraged to bring visuals to discuss work related to the readings. Presenters are also welcome to be as creative as they please in leading the class into discussion. For example a group may choose to stage television talk show in which group members take the role of the artists or writers of that week and a talk host interviews the artists/writers and opens discussion and participation to the audience (class). Reading presentations and discussions are expected to be a half hour long.

IV. VISUAL PRESENTATION & RESEARCH PAPER Artist[s] of influence

Important dates:
	October 21	Outline
	November 11	First Draft
	December 2	Final Presentation & Paper

20% of final grade

Each student will be required to do one brief 4-5 page research paper. The goal of this assignment is incorporate your viewing & research experience this semester into a visual presentation of an artist(s) whose work has been significant to your own process. Who have you found affinity with through your review for the class BLOG or through the readings? ....then, more specifically, research their creative history/evolution of work. Visual presentations should consist primarily of your own documentation.

Note*** you may consider getting the info from the "horse's mouth" --- to try and contact the artist. I encourage you to go for it! One way to start is to locate their gallery, another is to google them/contact them via website.

The requirements of the presentation are:

1. The presentation must contextualize the work of the artist by describing the period s/he was/is working in including any major socio-political events or technological breakthroughs as well as the lineage of work the individual belongs to. This should also include
Education and professional background of artist
did they go to college? grad school? how do they currently financially survive?
The artist goals through different bodies of work or stages of life:
- early work versus recent - subject matter changes-

2. Present at least three major works by the individual.

3. Establish your own critique of the individual's work and a synthesis of how the person's work contributed to where we are at now insofar as artistic production.

4. Create an online version of the research paper that the class may refer to.

COURSE READINGS
1. ONLINE: The Allegory of the Cave, Plato. Online reading >
2. PURCHASE Freud for Beginners > Richard Appignanesi & Oscar Zarate
3. HANDOUT: The Uncanny, Sigmond Freud (see Amazon link for purchasing, if interested)
4. PURCHASE Marx for Beginners by Rius
5. ONLINE: Communist Manifesto by Marx & Engels
6. HANDOUT: In the Making, Creative Options for Contemporary Art, Linda Weintraub
7.HANDOUT: Theories and Documents of Contemporary Art, A Sourcebook of Artist��s Writings (TDCA)Edited by Kristine Stiles and Peter Selz, University of California Pres. Available for purchase at TCNJ bookstore

COURSE SCHEDULE Topics and due dates are subject to change, although you will be notified in advance if this happens.

[Class 1] August 26
Introduction to the course: topics, objectives & requirements.

ASSIGNMENTS:

Reading & Writing Assignment:
A brief artist statement (minumum 2 paragraphs//max 1 page) should now be published on the class blog.
Over the next two weeks:
1. POST your review of colleague's statement on the blogsite
2. Revise your own statement, based on the critique you receive post your refined version.

Lauren Cannon   review > Nadia
James Giblin review > Katharine
Anna Johnston   review > James S.
Michelle Nugent review > Kerrin
Kerrin Paul     review > Cody
Cody Rounds review > James
James Stevens review > Michelle
Katharine Straut review > Anna
Nadia Trapani    review > James G.

Reading Assignment:
ONLINE: Plato, The Allegory of the Cave; Write-ups due Sept 9.
Post short reply on blog and bring hard-copy

Studio Assignment:
TOOL BOX REQUIREMENTS/NEEDS
0000000- hammer
0000000- flathead and Phillips screwdrivers
0000000- tape measure,
0000000- a utility knife,
0000000- level
0000000- a basic wood saw, hand or hacksaw
0000000- wrenches
0000000- pliers
0000000- clamps (C clamps useful but not manitory)
0000000- screws/nails ( for drywall, wood & various
0000000- electric drill

Next class ---> BRING IN (2) WORKS FOR CLASS CRITIQUE

[Class 2]       September 2
Monday's' schedule - we do not meet

[Class 3]        September 9   DISCUSSANTS: Ryan  & Lauren

Blog posts due & hard copy hand-in:
---- Revised artist statement and critique of fellow artists's statement.

DISCUSSANT presents on reading.
Critique of your 2 works

INTRODUCTION to studio parameters to extend your work:
-External sourcing
-Internal sourcing

Install semester calendar for glass case >
Reading & Writing Assignment:
Purchase - Marx for Beginners, read 11-142.
Take notes on key concepts and then short blog reply
Handout - In the Making, " External Sources of Inspiration" pgs. 150-190.Post short reply on blog and bring hard-copy

Studio Assignment:
In response to readings, develop a new work(s) that addresses external sourcing. New work is due for critique September 30th.

[Class 4]        September 16       DISCUSSANT: Nadia

DISCUSSANT presentation
crit of work-in-progress

Presentation workshop: Sarah Cunningham

Assist student(s) installing in glass case

Reading & Writing Assignment:
1. ONLINE > Marx,Communist Manifesto, I & II
2. ONLINE: NY Times Article on banksy: In the Land of Beautiful People, an Artist Without a Face
Post short reply on blog and bring hard-copy

TCDA: HANDOUTS
3. John Pitnam Weber "Murals as People's Art" (1971)
4. Jesse Helms, pg 273-274 "Senator Helms Objects" (1989)
5. Andres Serrano, pg. 280-281 "Letter to National Endowment for the Arts" (1989)
Post short reply on blog and bring hard-copy

Studio Assignment:
In response to readings, develop a new work(s) that addresses external sourcing. New work is due for critique September 30th.

[Class 5]     September 23   DISCUSSANT: Kate

Guest Artist : Discussant Presentation
-----------------
crit of work-in-progress / first floor exhibition
-----------------
Documenting your work: options
[ you will need to submit documentation of your works by week 14, Decemember 3] RESCHEDULED to 9/30 DUE TO ARTIST TALK-

Reading & Writing Assignment:
Freud for Beginners, pgs 4 -160

Studio Assignment:
In response to readings, develop a new work(s) that addresses external sourcing. New work is due for critique September 30th.
BRING CAMERA or reserve for next Tuesday night

[Class 6]          September 30       DISCUSSANT: James S.

Discussant Presentation
--------------------------------------------------------------
crit of new works inspired by external sourcing
---------------------------------------------------------------

Documenting your work: options

Studio Discussion: Internal sources of Inspiration
- new work(s) due October 21st

Reading & Writing Assignment:
HANDOUT: "Internal Sources" pgs. 122-124, 126-149
HANDOUT: The Uncanny, Freud.
EXHIBITION REVIEW #1 due next week

Studio Assignment:
In response to readings, develop a new work(s) that addresses external sourcing. New work is due for critique October 21st.

[Class 7]             October 7             DISCUSSANT: Cody

Visiting guest artist, Mauro Zamora
crit of work-in-progress
EXHIBITION REVIEW #1 due

Reading & Writing Assignment:

1. Andy Warhol, pgs. 340-346. "Warhol in His Own Words" (1963-87)
2. Lucas Samaras, pg. 349 "Another Autointerview (1971)
3. Roland Barthes, "Death of the Author" LINK here
Studio Assignment:
In response to readings, develop a new work(s) that addresses external sourcing. New work is due for critique October 21st.

     October 14 FALL BREAK - we do not meet.

[Class 89]    October 21 DISCUSSANT: Kerrin
Critique of new work informed by internal sourcing
Outline due of Artist of Influence research

Contemporary artists discuss
Shahzia Sikander / Barry McGee / Ann Hamilton/ Kara Walker (season 2, stories)

Reading & Writing Assignment:
1. VIEW: THE GLOBAL ARTIST by Saleem H. Ali
2. Barry McGee and SWOON by John Harbor.
3. Ann Hamilton TROPOS, Essay by Lynne Cooke
4. Black and White but Never Simple: Kara Walker by Holland Cotter

[Class 9]    October 28 DISCUSSANT: Michelle

Contemporary artists discuss
Do Ho Suh (season 2, episode stories) see part of clip
Tim Hawkinsonseason 2, episode time) see part of clip
Andrea Zittel (season 1, episode consumption)
Laylah Ali, (Season 3, episode power)

Reading & Writing Assignment:
Which art historical movements inform their works?
1. Gateway to Nowhere- Do-Ho Suh by Ben Davis
2. Interview with Andrea Zittel by D.K. Row
3. Zoopsia, New works by Tim Hawkinson
4. Laylah Ali pdf
________________________________________________
Sign up for OFFICE HOURS APPT: 12-3pm next Tuesday
Meet with Anita and bring in 4 works + revised artist statement
__________________________________________________

Note : Draft of Artist[s] of influence due November 11 ****

MEET IN PHILLY: Sunday, November 2
Meet at 12:30pm ICA, Philadelphia
lunch together in Chinatown
NEXT: VOX POPULI @3PM

download itinerary

[Class 10] November 4 DISCUSSANT:Anna

OFFICE HOURS APPT: 12-3pm next
Meet with Anita and bring in 4 works + revised artist statement

Reading & Writing Assignment:
Jessica Stockholder (season 3, play) Interview in Journal of Contemporary Art, 1990
Arturo Herrera (season 3, play) Arturo Herrera interview in Adaptation, 2008
Matthew Ritchie (season 3, structures) MATTHEW RITCHIE. Games of Chance and Skill, 2000–2002
Fred Wilson (season 3, structures) Fred Wilson: So Much Trouble in the World - Believe it or Not! Hood Museum of Art, 2005

[Class 11]     November 11     DISCUSSANT: James G

CRITS
Draft of Artist[s] of influence due
Exhibition review #2 due post on blog with documentation

READING and SCREENINGS:
* Important - while writing your response to the reading and interviews, please address an historic artist that can be related by goals or aesthetics to this week's artists!!!

1.Mike Kelley   (season 3, memory)   View entire interview. Video on Reserve in library

Above, short clip from Mike Kelley, Interview

Bruce Nauman (season 1, identity) View entire interview. Video on Reserve in library.
Above, short clip from Bruce Nauman : performances1968-9

Mark Dion (season 4, ecology, see below - CLIP ONLY)
Above, short clip from Art 21, season 4, "Mark Dion, Marine Algae"

Laurie Simmons (season 4, romance, see below - CLIP ONLY)
Above, short clip,from Art 21, season 4, "Laurie Simmons: The Music of Regret Act 3"

READINGS:
1.Mike Kelley. A video portrait’s odd inspiration, by Paul Young, Los Angeles TImes
2.Bruce Nauman. Stark Works That Invite Viewers to Join the Show, by Benjamin Genocchio, New York Times
3. Mark Dion: American Fine Arts / Aldrich Museum, Artforum, 2003
4. Laurie Simmons. Interview in ArtKrush, 200 7

[Class 12]     November 19 (Wednesday afternoon 12:30-4pm)
* note- we will not be meeting on Tuesday evening

FACULTY CRITIQUES

[Class 13]          November 25

Critique
Q & A on presentation

[Class 14] December 2, Artists Presentations & Papers due ****

[Class 15] December 3 (Wednesday afternoon 12:30-4pm)

FACULTY CRITIQUES


[EXAM WEEK]   12/09 5-7:50pm

Documentation of works due
Documentation should include strongest 4-8 images + artist statement on CD.

– Include only well lit, in-focus documentation.
– If submitting time-based, include screen shots and/or stills from work along with compressed media file.
–Test CD on several computers for readibility and make sure it's MAC compatible.

Meet to synthesize, one on one consultations

Research Papers returned -