Topic 6: The Art Universe and Miami Art Week

In this topic unit, we focus on Miami Art Week, and the exposure it offers us to different portions of what we're calling The Art Universe.

You have two assignments for this Topic:

1) An in-depth work with no restrictions, due on Tuesday, December 12 at 10 AM.
2) Outside visits, to be completed during class time on Thursday, December 7.

For the outside visits, we are using Thursday's class time to be certain that you will have the time to explore some of the opportunities presented by Art Basel Miami Beach (the convention center event and associated activities) and Miami Art Week (every non-ABMB event that happens in town at the same time).

Instead of repeating the information on the handout we gave you in class, there will be a list of links at the end of this post.  Additionally, here's an article in the Miami New Times about getting around during this week without a car.

Using class time for the outside visits means that this is NOT OPTIONAL; you MUST go experience some Miami Art Week activities during Thursday's allotted class time.  Expect a link to a form with questions designed to prompt you about your experiences.  Remember also to take a selfie of yourself at the events, with the symbol that Don asked you to include when we discussed this in-class.  As stated, only those selfies with the correct presentation will be valid.

You should also take notes at each event you attend, since you do not yet have access to the form questions.  Consider what sorts of questions were asked in previous forms as a guide for what information might be necessary for you to record.  Since this topic considers The Art Universe as a whole, many of the form questions will be written to elicit your observations about that.  These may include sponsorship, evidence of hierarchical structures, audience type, comparisons between previous experiences, and so on.

EDIT: Response form located here; due on Tuesday, December 12 at 11:59 PM.

Our last class will be Tuesday, December 12--please remember to bring snacks to share with the class as we will make the day an end-of-semester celebration honoring your work and development throughout the semester.

--------------------------------------------------
Helpful Miami Art Week links (not arranged in any particular order, however, if an event/site is not open on Thursday, Dec. 7th, it hasn't been listed):

Hyperallergic--Your Concise Guide to Miami Art Week 2017

Casa Lin

Art Basel Miami Beach

Design Miami 

Ink Miami

Fair. [Located in Brickell City Center]

Mana Contemporary--various events downtown

Miami Street Photography Festival [Located at History Miami]

History Miami Street Photography Festival [different link, same event as above]

CIFO

Art Africa Miami Arts Fair [Located in Overtown]

NADA--New Art Dealer's Alliance [Located in the Ice Palace, downtown]

White Cube--off-site installation by Ibrahim Mahama [Located in the Design District]

Gagosian and Jeffrey Deitch--Abstract/Not Abstract [Located in the Design District]

John Baldessari in the Craig Robins Collection [Located in the Design District]

Untitled

Superfine!

Little Haiti Cultural Center

Topic 5: Narrative- Packaged Narrative Due Dates

Packaged Narrative In-Depth Project

• Create a narrative in the form of an 8-Page Zine (Edition of 5)
• Create 3 small hand-held sculptures that expand the narrative. 
• Create a structural package (a container) for your zine edition and sculptures.

Please Note: The zine, hand-held sculptures, and package/container must all be thoughtfully considered and must all work together to drive your narrative.


Due Dates 
Due Tue, Nov 21st  (worth 20 points total)

• 10 points- Completed all original artwork necessary for your 8-page zine.
• 10 points- Complete your zine mock-up showing pagination and structure/orientation.

Due Tue, Nov 28th (worth 30 points total)

Progress Check! 90% complete (90% means you think the work is done, but we probably won't agree)

• 10 points- Bring in your 5 printouts for the zine edition (they don't have to be folded yet)
• 10 points- Bring in your 3 hand-held sculptures (only small details should remain unresolved)
• 10 points- Bring in your Container/Structural Package and show us how it all goes together.

Due Thur, Nov 30th (worth 50 points)
Your complete, resolved, fully-assembled packaged narrative must be ready for critique at start of class (come early to install). Please remember to consider presentation- how will your project engage with our environment (the classroom)? How will the zines be distributed? 

You project requires a minimum of the following:

• Completed edition of 5 zines.
• 3 Small hand-held sculptures
• The structural package/container they go in.

Rubric

• 20 points- Overall cohesiveness of the work- Are all the individual elements necessary for a complete understanding of the work, and do they all support the overall narrative? Can the audience easily interpret your intended narrative. 
• 20 points- Technical Competence of the work- No distracting craft issues. All craft decisions support the  narrative. Print quality supports the content/communicative goals.
• 10 points- Professionalism- Met deadline and minimum requirements. Work is finished and fully-resolved. Presented in a professional manner. 

WARP: Topic 5, (Narrative) Paratactical Incongruencies

In class today, we asked you to create three paratactical sentences using this structure:

• I believe in "_____________".
• I "verb" + "subject".
• The "noun" + (verb) "adjective".

You were then put into a group of 3 - 4 people, each of whom had a sentence.  You were asked to order your paratactic poem, and were then given an in-class assignment:

1) Each person must make a list of 5 mood words relating to their sentence.
2) Each person must make a list of 5 material qualities relating to their sentence.
3) Renegotiate your poem based on the mood words and material qualities.
4) The group must decide the narrative/content/story, and storyboard 3 different possibilities.  Each storyboard has three thumbnails, one for each sentence, for a total of 9 thumbnails in total.

This exercise will culminate in a comic/narrative that is due on Thursday morning at 10 AM.  Each group member is responsible for one 8.5" x 11" panel (2D--this size requirement is strict), which should have a correlating thumbnail in your chosen storyboard.  The three/four panels together will be a complete comic/narrative.

Topic Five: Telling Stories (Narrative), First Reading and Outside Visits

In our introductory discussion for this topic, we identified the different ways we receive and create stories in our lives.  We also came up with some essential conditions necessary for a story or narrative to exist or be told.  These were: 1) a shared context, 2) a tone (attitude, mood, volume, etc.), 3) an audience, 4) time, and 5) proximity. 

Reading

Your initial reading for this topic unit is a consideration of "Comics Poetry" (some use the term "Poetry Comics" instead); you've been asked to read and respond to an essay by Alexander Rothman, cartoonist, poet, and editor, which was published in the Comics Bulletin last year. 

The essay is located here.  Your response form is located here.  Your response is due Monday, November 13, at 11:59 PM.

Outside Visit

You will have some options for your outside visit for this unit.  The response form is located here. You will choose ONE out of the following:

1) Miami Book Fair, Destination Comics (panel discussions), November 18 - 19, MDC Wolfson Campus, Downtown Miami.  The schedule is located here.  There are many different panel discussions to choose from--you only need to attend one for this visit requirement; your MDC ID should get you into the fair for free.

2) Poetry, Art and Community: Tuesday, November 14, 7 - 9 PM, Vizcaya: 

"Join us as we celebrate Vizcaya in poetry and art with the FIU Honors College course “Poetry Art Community” designed by Professors Richard Blanco and John William Bailly.  The evening features Blanco and renowned poets Caridad Moro, Carlos Pintado, Nikki Moustaki, and Michael Hettich debuting their original Vizcaya-inspired poems in the Courtyard of the Main House. Their voices will be accompanied by photographs of Vizcaya by FIU students. The enchantment continues with pop-up poetry readings by students throughout the gardens as you stroll under the stars and the crescent moon.  Tickets $5. Light refreshments available for purchase."

The above option will allow you to visit Vizcaya at night, to hear renowned local poets, one of whom read a poem at one of Barack Obama's Inagurations (Richard Blanco), and to mingle with, and see the work of, students from another college in town.

Other assignments will be given to you on Tuesday, November 14.

 Critique Method Discussed in Class

• 1. Rapid Fire Material Analysis 
• What is your work made of?
• 2. Rapid Fire Formal Analysis
• Discuss the formal qualities of your work: i.e. principals of art and design
• 3. Interpretation of Contextual Referent 
• What context do the materials and form bring to your piece?
• 4. An Understanding of Place Through Conveyance of Mood
• What mood and sense of place does the work convey through your use of materials?
• What mood and sense of place does the work convey through your use of form?
•  Does the mood and sense of place conveyed in the work you made match the mood and sense of place represented in the Calvino text?  

IN REFERENCE TO :
- Concrete to abstract = we observe and interpret the concrete (form and material) to arrive at the realm of the abstract (ideas, emotions, etc)
- enthusiasm and competency in your presentation = share your comments in a professional manner and stand by your observations. Qualify all observations with specific examples that come from the work (form, material, context).

Topic #4: Landscape- Additional quick research to accompany your reading of Eccentric Spaces

Please look these up and post to your blog before class on Tue. It will give you important context for your reading. 

• Ha-has (recessed walls)--where do you find these?
• Parco del Mostri--Where, when, what's your favorite image?
• Roman Forum--What function did it have? Where, when, what's your favorite image?
• Boboli Garden--Where, when, what's your favorite image?
• Jardin du Luxembourg--Where, when, what's your favorite image?
• Tivoli Garden (Italy)--Where, when, what's your favorite image?
• Bernini's Four Rivers--Where, when, what's your favorite image?
• Jean Dubuffet's Jardin d'Emaille--Where, when, what's your favorite image?
• Stowe Garden--Where, when, what's your favorite image?
• Stourhead Garden--Where, when, what's your favorite image?
• Washington DC parks (any park space, structure, monument, or public artwork of your choice)--Where, when, what's your favorite image?
• Viscaya Museum--Why is this in Miami?  What is it named after? Who is responsible for it being built?  Where, when, what's your favorite image?
• Fairchild Tropical Garden--Why is this in Miami?  Who is it named after?  Where, when, what's your favorite image?

Topic 4: Landscape and Cities- Actual, Imagined, Shaped and Built

WARP Topic 4: Landscapes and Cities—Actual, Imagined, Shaped and Built

Whenever we enter the land, sooner or later we pick up the scent of our own histories.--William Least Heat-Moon

Overview

How do we represent place to ourselves? Landscapes, like cities, are made. Whether you are considering a painting or a garden, what we have come to know as “landscape” is not natural. Like cities, landscapes are a kind of built environment. They are also cultural constructs that can be put to many uses: for example, as a declaration of ownership and power, or as romantic or emotive aesthetic expressions. How we live in and move through places is informed by the images we hold in our memories, and the new images we encounter every day.In this unit we will consider literary and historical examples of landscape and the city next to contemporary artists’ use of the city as subject and material for new work.

Your assignments will be aimed at preparing you for a significant In-Depth work, and will include intermediary process and trial artworks. You will be given a set of options for your In-Depth work and will be required to choose one to follow.

In-Class Presentations 

Where We Live: https://spark.adobe.com/page/QMoTkBhUR7mJt/

We Still Live Here: https://spark.adobe.com/page/N9nltfUMzcqWl/

 

Readings

• Green Dreams; Gardens, Chapter 1 from the book Eccentric Spaces by Robert Harbison. Distributed via email with the form.  Form DUE Wednesday October 25 by 11:59 PM.

• Excerpts from the book Invisible Cities, by Italo Calvino. Distributed via email.

 

Museum Visit--DUE Wednesday, November 1 by 11:59 PM 

 

You must attend one of these museum/garden options to visit and respond to:

 

A.
 Vizcaya Museum and Gardens (Coconut Grove, FL) 
3251 South Miami Avenue, Miami, FL 33129

Open 9:30 a.m. to 4:30 p.m. except Tuesdays, 
Thanksgiving and Christmas.

Student Admission $10.

Directions and parking info here. The Vizcaya Metrorail station is within walking distance to the Vizcaya Museum. 

Deals- Sometimes you can get a “Museum Pass” from your local library for free admission to Vizcaya. You may also be able to purchase discounted tickets for $5 from Culture Shock Miami if you are 22 years old or younger. If you would like to attend with a friend or family member who is not a student, they have a discount on regular admission through the end of October: “Fairchild Tropical Botanic Garden is offering $5 off regular admission, 10% off membership and $5 off a purchase of $20 or more at the Shop at Fairchild. Please mention Miami Magic City. Offer valid through October 31, 2017.”


B. 
Deering Estate at Cutler (Cutler Bay, FL)
16701 SW 72nd Ave., Miami, FL 33157

Open 10:00 am to 5:00 pm (no admission after 4:00 pm),except Thanksgiving and Christmas.

Admission $12. 

Directions and parking info here. Street address is different than location of park entrance

Deals- The “Museum Pass” available from the Library allows free entry to the Deering Estate. Through October, enjoy buy one admission ticket and receive a second admission ticket of equal or lesser value for free. Offer valid for general admission only. Please see coupon for more details.


C.
Fairchild Tropical Garden (Coral Gables, FL)
10901 Old Cutler Road, Coral Gables, FL 33156

Open Daily 9:30 AM to 4:30 PM,
except Christmas.

Admission for Non-Member Adults - $25

Directions are here. 

Deals- You may be able to purchase discounted, $5 tickets from Culture Shock Miami if you are 22 years old or younger. Through October, Fairchild Tropical Botanic Garden is offering $5 off regular admission, 10% off membership and $5 off a purchase of $20 or more at the Shop at Fairchild. Please mention Miami Magic City. Offer valid through October 31, 2017.

D. 
The Kampong (Coconut Grove, FL)
4013 S. Douglas RD, Coconut Grove, 33133

Open for "Self-Guided Tours", 10 AM - 3 PM, Mon - Sat, reservations necessary: 305-442-7169 or kampong@ntbg.org

Students with ID, $10. 

E. 
The Barnacle Historic State Park (Coconut Grove, FL)
3485 Main Highway, Coconut Grove, 33133

Closed Tuesdays, open 9 AM to 5 PM

$2 entry fee

F.
Morikami Museums and Japanese Gardens (Delray Beach, Florida)
4000 Morikama Park RD, Delray Beach, FL, 33446

Open Tuesdays - Sunday, 10 AM - 5 PM

Students with ID $11

G.
Pinecrest Gardens (Pinecrest, FL)
11000 Red Road, Pinecrest, FL, 33156

9 AM - 5 PM on Saturday and Sunday; 10 AM - 5 PM, Monday through Friday 

$5 entry fee

  
Assignments

Small work #1- Street or Garden. DUE Tuesday, October 24 at 10 AM.

This is an observational exercise and will require you to immerse yourself in the landscape or city. For this assignment, choose either a or b. 

a) Street.
Step 1- 
Choose a street. 
Walk the length of it, as far as you can. 
Find a place to sit and observe. 
Record all the sensory information you can take in: sights, sounds, scents, tastes, and textures. In your sketchbook, write for 30 minutes (on-site), and then draw for 30 minutes (on-site). 

Step 2- 
Use this information to make an imaginary creation in your studio. Size: 10 inches minimum, shortest dimension, media of your choice.

b) Garden.
Step 1- 
Choose a garden or park, a public place, not your back yard. 
Find a place to sit and observe. 
Record all the sensory information you can take in: sights, sounds, scents, tastes, and textures. In your sketchbook, write for 30 minutes (on-site), and then draw for 30 minutes (on-site). 

Step 2- 
Use this information to make an imaginary creation in your studio. Size: 10 inches minimum, shortest dimension, media of your choice.


Small Work #2- Poetry or Prose. DUE Monday, October 23, by 11:59 PM on BLOG.

This assignment is designed to accompany Small Work #1. Write a work of fiction or non-fiction based on your experiences on the street or in a garden. Any literary form is acceptable, prose or poetry, with a 15 line minimum. This will be posted on your blog.


Small Works #3- Calvino. DUE Tuesday, October 31, 10 AM

Invisible City—Identify four different materials that convey something about the mood or tone of the Calvino City you chose. Make an exploratory work with EACH of those four materials in which you attempt to use and emphasize the material qualities to present that mood or tone to a viewer. If 2-D, these explorations need to be 8” x 10” minimum. If 3-D, these explorations must be no smaller than a 6” cubic volume. If you choose to use your materials in a durational way, the explorations should be at least a minute each.

In-Class Exercises

These will be a series of in-class exercises to help you develop your concepts through an investigation of process, techniques and materials.


In-Depth Assignment. DUE Thursday, November 9, 10 AM

You will develop a larger, more ambitious and complex work from the ideas generated in the Small Works assignments. It can develop from any or all of the Small Work Assignments. In creating this work, you must choose one of these three options to strive for:

1. 2-D—Create a series of six works, each no smaller than 12” x 18”
2. 3-D—Create a single work that will approximately fill a 24” cubic volume
3. Create a Time-Based/Durational work.: If you are making a video piece or slideshow presentation it must be at least 7 minutes in duration. If you are making an animation that you yourself create frame by frame the duration must be at least one and a half minutes. If you are creating a performance to be presented live in class it must have a duration of at least 4 minutes but not longer than 7mins. If quoted durational materials: 7 minutes.

Topic 3: Rhino- Communication, Illustration, Propaganda and Interpretation.

Rhinoceros: Communication, Illustration, Propaganda and Interpretation

Introduction

There is no ‘pure’ image—images always carry an embedded bias of their creator or of the era in which the image was made; the bias can be unintentional, contextually historical, or intentional.  Images can serve different purposes, too: consider the different contexts and functions of scientific illustration, individual portraiture, or religious, political, or other propaganda. 

The overall goal of this Topic is to cause students to first see representation, then trace the influence of representation into the intentional creation of meaning (communication, illustration, propaganda).

Deadlines

October 11, Wednesday (Midnight)—First reading (Clarke) Response Form Due.

October 12, Thursday (In Class)—Creature/Other Due.

October 16, Monday (Midnight)—Second reading (Lampert) Response Form Due 

October 16, Monday (Midnight)— Museum Visit Response Due. Link to form HERE.

October 17 Tuesday—In Depth Portrait/Propaganda Due.

Readings

All readings will be distributed via email, along with link to Response Forms:

1) The First Lisbon or Durer Rhinoceros of 1515 (Chapter 1), The Rhinoceros from Durer to Stubbs; 1515 - 1799; T. H. Clarke, 1986.  [sent via email]

The above text links the arrival of a real rhinoceros in Lisbon in 1515 to depictions stemming from that arrival as they propagated over time.  The author notes the influence of depicting artists' own personal experience and formation, as well as the replication of form as one artist is influenced by another.  This chapter serves as an object case study on the issue of received knowledge, using concrete historical tracking of an image's spread of influence.

Due October 11th at midnight. 

2) Photographing the Past During the Present (Chapter 6), A People's Art History of the United States; Nicolas Lampert, 2013.   [sent via email; link to response form: CLICK HERE. ]

This text discusses the difference between photography depicting Native Americans as practiced by an outsider versus an insider.  Noted are what each photographer chose to represent, the relative success and/or popularity of their imager`y, and the effect of each on the popular understanding and depiction of Native Americans.  The issue of Authorship is also brought up.  This chapter serves as a case study of intentional visual propaganda--the intentional shaping of the message utilizing the tools and formal qualities of a specific medium.

Due October 16th at midnight. 

Assignments

1) Creature/Other-- using source texts from a) scientific observation (biology) and b) colonial exploration as source material to visually depict what is described.  Students are limited to using their imagination, and are discouraged from researching the text online.  The idea is to understand the role of early artists and illustrators as important interpreter/creators of visual culture, as well as scientific and anthropological 'fact'.  Choose one of the four source text options.  Work may be created in any medium, but should be no larger than 10” in the longest dimension.

Due October 12th at 10am.

2) Portrait/Propaganda (In-Depth Assignment)

This is a two-part assignment.  Work may be created in any medium, but each work should be no smaller than 12” in the smallest dimension.

Part A) students will create a portrait of an individual and must choose whether to depict the subject as admirable or ignoble.  This choice will be realized through specific formal choices—composition, color, line weight, energy, texture, scale, contrast, etc.—in the medium of their choice.  The portrait should also be a good representational likeness of the individual, and not an abstraction or substitution (e.g.: a person must be represented by a person, and not by a bottle, or a cow, for example).  No smaller than 12” in the smallest dimension.

Part B) Students will next create a form of propaganda—some combination of text/speech and image that will promote a message opposite that of the portrait about the same subject.  For example, if you depicted one of your professors as destitute, intimidating, and horrible in a portrait, then your propaganda should promote them as rich, welcoming and wonderful.  No smaller than 12” in the smallest dimension.

In the propaganda you may feel free to use a personified representation of your subject—you may depict a bottle or cow, which has the characteristics of your subject in place of your subject, for example.  The propaganda may be created using the medium of your choice, though the requirement to use text may make some of you feel limited—consider that there are many ways to use text; it doesn’t simply have to be a digital insertion.  Formal choices will also be important in the propaganda. 

Museum Visit

Lewis Hine; Social Justice and Child Labor:  https://thefrost.fiu.edu/exhibitions/2017/lewis-hine.html

Frost Art Museum (FIU; free admission)

From the exhibition’s webpage:

One of the most influential social documentary photographers of the 20th century, Lewis Hine dedicated his practice to capturing images of children toiling in factories. His powerful photographs told the story of children's abuse as workers and helped influence the creation of labor laws in the United States.

In 1908, the National Child Labor Committee commissioned Lewis Hine to photograph conditions of child labor in America. With the surge of the Industrial Revolution, factories and mills sought unskilled labor. While a child may have previously worked on their family’s farm or shop, a promise of higher wages lured many families to send their children to work in cities. Hine’s photographs are often accredited as one of the driving forces for inciting the American population to demand an end to child labor.

Despite the difficult lighting and locations, Hine managed to create thoughtful and provocative compositions that capture the child’s exhaustion, pain, and anguish.

Museum Location and Hours:

Florida International University

10975 S.W. 17th Street

Miami, FL 33199

Monday: Closed

Tuesday: 10 A.M. - 5 P.M.

Wednesday: 10 A.M. - 5 P.M.

Thursday: 10 A.M. - 5 P.M.

Friday: 10 A.M. - 5 P.M.

Saturday: 10 A.M. - 5 P.M.

Sunday: 12 P.M. - 5 P.M.

Optional Information

For those students who wish to pursue these ideas further; this reading is not required.

1) Enter the Dragon; on the vernacular of beauty; found in The Invisible Dragon; Four Essays on Beauty; Dave Hickey, 1993. 

[Available online here: http://sculpture.artapsu.com/wp-content/uploads/2015/02/hickey_beauty_selected_essays.pdf ]

Hickey's essay illustrates the problem of the conceptual systems of thought underpinning art, within which we make and exhibit art, as power structures which serve to tell us what content is possible or impossible to present within those systems.  The argument is the conceptual extension of issues illustrated by the first two articles.  Hickey provides a helpful and simple explanation of the arguments laid out by Michel Foucault in Discipline and Punish as an illustrative example, and also uses as an example the NEA controversy surrounding the work of photographer Robert Mapplethorpe from the 1980’s.

Pattern and Ornament, Small Work #1 Addition

Hi WARPies!

Kathleen and I forgot to mention that you need to bring in materials so one of your classmates can recreate your 3-D manifestation (Small Work #1) from the instructions/plans you are writing up. 

SO! 

Bring in your detailed instructions and all the materials you used in the creation of the work--enough to make the work again. This will be an in-class project.  Please share the word so everyone gets this info. 

So sorry about the lateness of this message!

Best,

Don & Kathleen

Assignments and Due Dates- Topic #2:Pattern and Ornament. Part 2.

Topic #2: Pattern and Ornament

Overview

In the previous topic, we considered the environment around us as a source of inspiration for art-making. We asked you to consider the legacy of received knowledge regarding skill-sets you already had. The purpose of this was to, in part, open your eyes to the categories and biases you might personally impose on your idea of art.

This topic will be a consideration of what is frequently referred to as the ‘decorative or applied arts’. The term itself is embedded with the same sorts of categories and biases that plague what can be considered ‘fine arts’, and we will address those concerns throughout the topic.

In addition to looking at numerous examples of the use of pattern and ornament throughout history, we will be focusing on the design process itself.

The design process includes, for our purposes: conceptualization, planning, preparation and execution.

In this section,  you will design and create the following:

1) A 3-D manifestation of one of the 2-D symbols in your Form-based Language.

2) A 2-D visual plan for either a repeat pattern or a low-relief ornamental form.

3) A set of drawings/plans for a chair of your design. 

4) An ambitious artwork inspired from your chair design.

Assignments and Due Dates

Small Work #1. Language: 2-D to 3-D translation. Due Thursday, Sept 28th. 

Create a physical manifestation of one of the symbols in your Form-based Language. You will construct a fully three-dimensional version (not a low-relief structure) of your form using planar materials (paper, cardboard, matboard, etc.). Your form should fit well into a volume of approximately 4” in all dimensions.

In addition to the object,  you will create a set of instructions describing the process so that one of your classmates can recreate the structure. Be sure your instructions are clear, concise and complete. They can be a combination of image and text on paper, and should physically describe all aspects of the construction of your object.

Small Work #2. Using Pattern as reference. Due Thursday, Sept 28th. 

From the furniture section of the pattern book, A handbook of Ornament, choose a chair pattern that best communicates either your personality or a personality you would like to project. Identify your choice by writing down the image plate# and reference from the book. In your sketchbook, write down the personality trait you are seeking to convey. 

Next, draw the chair pattern in your sketchbook and be sure to upload it to your blog. The height of the drawing should be no less than 5". Detail and accuracy counts. You will be working from this chair pattern for the next two assignments.

Additional blog research (observational): look for pattern and ornament in your daily world and record it via photo in a blog post. Get at least 5 examples.

Required Reading Response. Due Monday, Oct 2nd by midnight. 

Respond to this --> reading <-- from the Contemporary Art Museum Raleigh: Ornament and Pattern. 

Link to the on-line questionnaire is here. 

Small Work #3. Incorporate a Repeat/Ornament. Due Tuesday, Oct 3rd. 

With the chair pattern and personality trait in mind, create a 2-dimensional visual plan for either a pattern-repeat or a low-relief ornamental form that can be incorporated into a chair you will be designing. You will choose either a repeat pattern or an ornamental relief. Not both. The pattern/ornament must be no smaller than 7” on the shortest dimension.

Notes:
We will provide you with a demonstration of the creation of a pattern-repeat by hand, as well as examples of geometric motives to use as organizing structures for the application of repeated form.

This pattern-repeat or low-relief ornamental form must be integrated into your chair design for the next assignment so be sure it makes sense with the chair pattern and personality you selected in assignment 2.

Small Work #4.  Design your chair. Due Tuesday, Oct 3rd.

Based on the pattern selected in assignment2 and the repeat/ornament you created in assignment 3, design a chair that communicates your selected personality. Your design will be communicated in four detailed drawings each measuring 8"x10". The specific drawings are: Front View, Side View, Top View, Repeat/Ornament Detail view of the Repeating Pattern or Ornamental Relief.

In-Class Work Day. Thur Oct 5th. 

Cropped section activity and workshop access. 

In-Depth Project. Abstraction of the form. Due Tue, Oct 10th.  Final Topic#2 Critique.

For your in-depth assignment, you will take the cropped section from your chair design (SM#4) and use it as a starting point to create an ambitious artwork. There are no limitations on materials or techniques, only size. The piece should be no smaller than 24" in the smallest dimension. 

Resources: Library Resources and Facebook Link

How to access Jstor step by step:

On the MDC Library Page

1. under “Find Articles” click “More Databases”

2. Login. Notes: The Borrow ID is your MDC ID#. The Pin is the last 4 digits of your MDC ID #

3. Under the “Arts and Humanities” tab you will find Jstor

Helpful tips for searches on Academic Databases!

-if you want to narrow your search to something specific, for example you're specifically researching Edward Hopper and how his work was influenced by the Cold War, you can hit “advanced search” and search those two together with the “AND” and “add field” options. This can also be useful if you only want a very specific search and not something else (in the drop down menu select “NOT” and enter what you don’t want to come up in your search)

** you can also do your initial search this way. just type your subject with parentheses and type “AND” in between. 

     - Example: type ((Edward Hopper) AND (The Cold War))

And in general, for your other college classes in life, for Academic Databases always make sure you hit Full Text and Downloads Available so you can get access to a full article for your research. 

New World Students Facebook Link!

https://www.facebook.com/groups/315980605163211/

Assignments and Due Dates- Topic #2: Pattern and Ornament. Part 1

Our next unit topic will be a consideration of design, specifically through the lenses of both Pattern and Ornament in art, craft and architecture.

Here are your first two assignments.

1. Read, and respond to the Ornament text below.  DUE Monday, September 25th at midnight.

Ivins, William M. ""Ornament" and the Sources of Design in the Decorative Arts." The Metropolitan Museum of Art Bulletin 13, no. 2 (1918): 35-41. Available on JSTOR through the MDC Library.

http://www.jstor.org/stable/10.2307/3254155

Here is the link to the google form with the reading response worksheet.

2. Sketchbook Work: Form-Based Language. DUE on Tuesday, September 26th. 

In your sketchbook, develop a personal language of shapes that draw upon your own experiences and visual environment--you can also think of this as a symbolic system which visually represents thoughts, places, actions, events, conditions and sentiments which are important to you. Avoid clichéd, and commonly received versions of imagery. For example: the use of a red octagon (stop sign) to indicate the cessation or end of something would be both clichéd and commonly received, as would the graphic representation of a ring (wedding or engagement), to indicate romantic commitment.  Your Form-Based Language can draw upon and refer to commonly received symbols, but must be refreshed by being made your own through some act of transformation. 

3. REQUIRED outside museum visit. Wolfsonian. DUE MONDAY, October 2nd at midnight.  

The Wolfsonian FIU

1001 Washington Avenue

Miami Beach

305 531 1001

You will specifically respond to the permanent collection show, Art and Design in the Modern Age.
  

I advise you to also tour other exhibits in the museum, as they will all tie into to topics introduced later in the semester. You will be able to substitute one outside visit this semester, if you are unable to attend a required one, so preparing good notes that allow you to create a response to one of the museum's other shows would be wise.

These are the museum's hours (please note the free hours on Friday evenings; regular admission for students is only $5, however, with your ID):

Mon, Tue, Thu, Sat     10am–6pm 

Wed                               Closed

Fri                                  10am–9pm (free 6–9pm)

Sun                                noon–6pm

Here is the link to the google form with the reading response worksheet.