Impression Journal Checklist

impression journal checklist [download pdf]

In The Making (3) brief + thoughtful chapter summaries
____ artistic attitude
____ choosing a mission
____ measuring success

Themes in Contemporary Art (4) brief + thoughtful chapter summaries
____ place
____ language
____ science
____ spirituality

Art Fundamentals (2) brief + thoughtful chapter summaries
____ three dimensional
____ content and style

In-Class Writings (5) thorough + thoughtful responses
____ A Picasso [Guernica, 1937] vs Omar Fast [Take a Deep Breath, 2008]
____ B commentary on quote
____ C inflatatopia proposal relationship to types of installations
____ 10 Ann Hamilton [art21]
____ D semester review relative to your BIG IDEA

Inside the Artist Studio Questions (10 each) + Notes
____ Anthony Watkins
____ Michael Henderson
____ Edward Morin

Class Lecture Notes
____ 10/21 time [grand narrative]
____ 10/28 place [installation]
____ 11/04 language
____ 11/11 science

Inflatatopia proposal + model checklist

WASHer checklist based on [p8] Inflatatopia project sheet proposal, model + parameter sections.

Can't wait to see them. Wow us and woo your team into choosing your proposal!

MW post up your conceptual isolation videos

to youtube (email kk your url) by 9 pm Sunday evening, get your storyLINE artifacts installed, and burn your video CD.



Take good photographic documentation when you finish installing and have cleaned up. You will want all documentation done prior to Monday's studio since the work will be deinstalled at noon to make room for TTR's installations.

Reminder that our guest CRITTER is painter, animator and professor, Michael Henderson. Consider how you intend to speak about the 3Ms+F (materials, method, meaning and form).

And amen I've finished grading your midterms!

MW post up!

MW -- I should currently have your youtube url for your formal isolation video. Be sure to burn your final and test versions to CD and bring to studio 9:30 am tomorrow. Review handout for details.

Thursday, Oct 13 Lecture with JANINE ANTONI

A lecture by

Janine Antoni

Thursday, October 13

7:00 pm

Freed Auditorium, Glassell School of Art

Across street from Museum of Fine Arts Houston

1001 Bissonnet Houston, Texas 77005

Janine Antoni was born in Freeport, Bahamas in 1964. She received her BA from Sarah Lawrence College in New York, and earned her MFA from the Rhode Island School of Design in 1989. Antoni’s work blurs the distinction between performance art and sculpture. Transforming everyday activities such as eating, bathing, and sleeping into ways of making art, Antoni’s primary tool for making sculpture has always been her own body. She has chiseled cubes of lard and chocolate with her teeth, washed away the faces of soap busts made in her own likeness, and used the brainwave signals recorded while she dreamed at night as a pattern for weaving a blanket the following morning. In the video, “Touch,” Antoni appears to perform the impossible act of walking on the surface of water. She accomplished this magician’s trick, however, not through divine intervention, but only after months of training to balance on a tightrope that she then strung at the exact height of the horizon line. Balance is a key component in the related piece, “Moor,” where the artist taught herself how to make a rope out of unusual and often personal materials donated by friends and relatives. By learning to twist the materials together so that they formed a rope that was neither too loose nor too tight, Antoni created an enduring life-line that united a disparate group of people into a unified whole. Antoni has had major exhibitions of her work at the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, S.I.T.E. Santa Fe, and the Irish Museum of Modern Art, Dublin. The recipient of several prestigious awards including a John D. and Catherine T. MacArthur Fellowship in 1998 and the Larry Aldrich Foundation Award in 1999, Janine Antoni currently resides in New York.

Looking back and forth in time at a smattering of video artists

Hillerbrand and Magsamen
http://www.hillerbrandmagsamen.com/works/coffeeandmilk.html
http://www.hillerbrandmagsamen.com/works/cheesepuffs.html
http://www.hillerbrandmagsamen.com/works/airhunger.html
http://www.hillerbrandmagsamen.com/works/suspect.html

Harisson and Wood

Bill viola

Shirin Neshat

Matthew Barney

Vito Acconci, John Baldessari, Peter Campus, Doris Totten Chase, Norman Cowie, Dan Graham, Joan Jonas, Bruce Nauman, Nam June Paik, Martha Rosler, William Wegman, Pascal Auger (France), Domingo Sarrey (Spain), Juan Downey (Chile), Wolf Vostell (Germany), Slobodan Pajic (France), Dieter Froese (Germany), Wojciech Bruszewski (Poland), Wolf Kahlen (Germany), Peter Weibel (Austria), David Hall (UK), Paul Wong (Artist) (Canada), Lisa Steele (Canada), Rodney Werden (Canada), Colin Campbell (Canada), Miroslaw Rogala (Poland), Danny Matthys, Chantal Akerman (Belgium) Krishna Murti (Indonesia), Ray Langenbach (USA/Malaysia), Emil Goh (Malaysia/Australia), Nadiah Bamadhaj (Malaysia/Indonesia), Wong Hoy Cheong, Liew Kungyu, Hasnul J Saidon, Masnoor Ramli, Kamal Sabran, Roopesh Sitharan, Hayati Mokhtar, Goh Lee Kwang, Kok Siew Wai (Malaysia), Akram Zaatari (Lebanon), Mireille Astore (Lebanon/Australia), Gary Hill (USA), Arambilet (Dominican Republic – Spain), Fred Forest 1967 (France), Tony Oursler, Mary Lucier, Paul Pfeiffer, Sadie Benning, Paul Chan, Eve Sussman and Miranda July; Eija-Liisa Ahtila (Finland), Kirill Preobrazhenskiy (Russia), Pipilotti Rist (Switzerland); Surekha (India);Stefano Pasquini (Italy); Shaun Wilson (Australia); Stan Douglas (Canada); Douglas Gordon (Scotland); Olga Kisseleva (Russia); Anne-Mie van Kerckhoven (Belgium); Martin Arnold (Austria); Matthias Müller (Germany), Gillian Wearing (UK); Stefano Cagol (Italy); Helene Black (Cyprus); Shirin Neshat (Iran/USA); Aernout Mik (Netherlands), Jordi Colomer (Spain/France), Sergei Shutov (Russia), and Walid Raad (Lebanon/USA) Wong Hoy Cheong, Hasnul J Saidon, Masnoor Ramli, Kamal Sabran, Hayati Mokhtar, Goh Lee Kwang, Kok Siew Wai (Malaysia).

artist paper, presentation, imagine collaboration details

1. [lecture] paper guidelines (resources)
   hardcopy and digital upload to turn it in due 9:30 am Friday, December 2.
   
2. [lecture] presentation guidelines (calendar)
   presentation date, check calendar; visual digital files for presentation due morning studio immediately prior to presentation date.
   
3. [studio] imagine collaboration guidelines
   critique Friday, November 18

Artist Paper support links

1. SHSU Writing Center {great resource} 
2. brainstorming+clustering 
3. organizing your thoughts 
4. outlining your ideas 
5. finding sources 
6. internet sources 
7. print sources 
8. plagiarism 
9. proofreading 
10. MLA citing work 
11. MLA paper formatting 
12. MLA print sources 
13. MLA electronic sources 
14. MLA in-text citationsworks cited page {sample}

APPLES + ORANGES and my own green GRASS.

Hmmm there was a question asked today in regards to which classes’ larger than life projects, as a class, were “better.” I gave a quick off the cuff answer and then had to go home and think about why I answered the way I did and why did I perceive differences. I found the “better” question hitting me a bit like “apples and oranges” as well as the “the grass is greener” in my reflection. So I really had to think about WHY.

Here is why both are better and different (apples + oranges) upon first mental run through. The projects in the two classes pushed two unique directions—TTR emphasized abstracting and sampling from a source object and having that object become something new, inspired again by the source object but not a literal reference; MW emphasized how to become one with the source object with more literal references to their source objects. What appealed to me overall from the TTR projects were the details, texture, extrapolations, surprises and humor; the appeal of the MW projects was the relationships of real artifacts from the source object showing up in and as a part of the body, the natural humor that comes from that, and the performative element . There may have been surprises on MW but since I witnessed their entire process so I knew what was coming.

So ultimately apples and oranges.

GREENER
“The greener grass” came from the fun surprises of TTR. Because I had not seen anyone’s process in the class, everything was unexpected, fresh and new to me.

Was the grass actually greener? No, just different and a fun surprise. And I have awesome grass and fruit in my yard as well. I intend to keep watering it!.

Lecture #3 handout

Writing assignment #3 (handout pdf | word doc)

KK's crazy creativity elmo notes

Here are some sample WASH studio projects from last semester that emerged directly and indirectly from autobiographical (self reflective) list making.

Ryan

Sarah

Shelby

 

Jeremy's resume

Nic

Katy

Lauren

Lauren

Katy

Krystal

Jada

mw handouts for week 2 available on blog

This weeks studio handouts.

Hey WASHer studio crew, your studio handouts are accessible online to read or download from our blog. They will be accessible from sections titled HANDOUTS.

First week surface + space studio handouts and such:

1. surface [p1] dot
2. surface [p1] gestalt reading
3. space [1] sphere blitz
4. plus Art Fundamentals (AF) textbook ch 1+2
   see Lecture Reading Calendar
5. surface + space syllabus MW | TH
6. required textbooks
7. required materials

Read through your WASH lecture (for Fridays) syllabus +

WASH lecture
syllabus

reading calendar*

presentation calendar based on names of artists**

**presentation calendar lists names of artists. On the first Friday, you will receive one of these names. You will use the presentation calendar to determine the date you are assigned to present.

*reminder on required texts for WASH [order or pick them up at bookstore ASAP]

1. In the Making: Creative Options for Contemporary Art
   by: Linda Weintraub
   
   
   
   
   
2. Themes of Contemporary Art: Visual Art after 1980
   by: Jean Robertson and Craig McDaniel
   
   
   
   
   
3. Art Fundamentals: Theory and Practice {TENTH edition}
   by: Ocvirk, Stinson, Wigg, Bone and Cayton {CD or DVD is not required}
   
   
   

You may also access these handouts through BLACKBOARD via www.shsu.edu

Read your studio syllabus thoroughly.

TTH studio syllabus [1313.02 + 1314.04]

MW studio syllabus [1313.01 + 1314.03]

There will be opportunities to ask your questions and get clarification
about WASH studios the first studio day.

The new WASH Building, 2220 Ave. M, across from Holleman Field. We'll be welcoming our new fall WASH students PROMPTLY at 9:30 am, Wednesday, August 24 with Kathy and Thursday, August 25 with Valerie. Don't miss! It is a full day and you will fall quickly behind if you miss this day!

At 9:30 am on Friday, August 26 we all meet together over in room 108 of art building E.

On the first day bring

1. Newspapers (the equivalent of one Sunday Houston Chronicle in thickness)
2. One roll of plain masking tape (tan or neutral in color)
3. Camera or camera phone
4. Lock (combination style...optional)
5. Sack lunch (we have a fridge + microwave for student use during our one hour lunch break)
6. Layers (temp in WASH house may not be to your liking)

You should also be collecting clean, used, cardboard for studio. You will need it the first weekend.

Like WASH facebook page.

WASH materials list

All of these supplies are required & we will be using ALL of them. You can choose to purchase these items anywhere you like. However, at BearKat Books Art Supply (located at 2223 Ave. J in Huntsville) they have put a Kit together and will offer you a 10% discount for purchasing in bulk!!! Purchasing all items separately will cost you at least $193. Purchasing the KIT at BearKat will only cost $172.82 Kits will be available to purchase on Monday, August 20th. BearKat Books open daily 8am-5pm, 936-295-4108.

Write your name on everything! Your scissors, glue, etc looks exactly like everyone else's! Names will help you not inadvertently take your neighbor's stuff.

WASH Visual Journal available at BearKat Books (1) The cost is $14 to purchase outside of kit
Composition Notebook (1)
882-E Scantrons (2)
Large Bluebook BB-2 (1)
Black Twin Tip Sharpies (2)
Black Sharpie Pens (2)
No.2 Pencils (2)
Sharpie fine point permanent pens (8 color set)
Sharpie ultra fine permanent pens (8 color set)
Chartpak colorless blender pen (1)
Cray-Pas Oil Pastels (12 color set)
Liquitex Basics Acrylic paint (5 color set; including black/white)
Paint Brush set (set of 25)
Palette knife set (set of 5)
Strathmore 300 Bristol pad 9x12 (20 sheet pad)
Clearpoint Vellum Paper (10 sheets)
ModPodge Medium (8 oz.)
Tracing Paper Pad 9x12 (50 sheets)
Black Construction Paper 12x18 (100 sheets)
WhiteOut Pen (1)
Single Hole Punch (1)
Utility Knife (box cutter type with additional blades)
X-acto type precision knife with cap and 5 #11 blades
Circle Template (1)
Square Template (1)
Self-healing cutting board 8.5x12 (1)
Binder clips small (set of 12)
Binder clips medium (set of 10)
Push Pins Clear (set of 20)
T-pins 1” (set of 100)
Masking tape (3/4”x60yards)
Blue Painters Tape (3/4”x60yards)
Spray Mount Adhesive (4oz.)
Uhu Glue Stick (medium)
Carpenters Wood Glue (8oz.)
Elmers Glue (8oz.)
18” Cork Backed Metal Ruler (1)
Kneaded Eraser (1)
Sanding Block Medium/Fine (1)
Masonite Squares 12”x12” (2)
Masonite Squares 6”x6” (1)

Additional Required Materials NOT included in the WASH Kit:

Scissors (1)
Mounting Boards (size will vary)
Ream of white copy paper (pack of 500)
Ream of White Card Stock (pack of 250)
White Thread (1 spool)
Black Thread (1 spool)
Sewing needles (small pack)
Bleach Pen (1)
Wax Paper (1 roll)
USB Flash Drive 2GB or 4GB (1)
Blank CD’s (pack of 10)
Blank DVD’s (pack of 5)
Hot Glue Gun (1)
Hot Glue Sticks (package of 50-100)

WASH required textbooks {fall 2011}

You may choose to purchase these books anywhere. It is up to you. We have found that Amazon.com has really great prices, and have noted those current prices for each book. You will need to arrange to purchase them quickly, since we will begin using all of them the first week of classes.

1. In the Making: Creative Options for Contemporary Art {$23}
   by: Linda Weintraub
   
   
   
   
   
2. Themes of Contemporary Art: Visual Art after 1980 {$35}
   by: Jean Robertson and Craig McDaniel
   
   
   
   
   
3. Art Fundamentals: Theory and Practice {TENTH edition} {$30}
   by: Ocvirk, Stinson, Wigg, Bone and Cayton {CD or DVD is not required}
   
   
   

WASH House

2220 Avenue M.

WASH = Workshop in Art Studio and History

The new WASH Building, 2220 Ave. M, across from Holleman Field. We'll be welcoming our new fall WASH students PROMPTLY at 9:30 am, Wednesday, August 24 with Kathy. Don't miss! It is a full day and you will fall quickly behind if you miss this day!

At 9:30 am on Friday, August 26 we all meet together over in room 108 of art building E.

On the first day bring

1. Newspapers (the equivalent of one Sunday Houston Chronicle in thickness)
2. One roll of plain masking tape (tan or neutral in color)
3. Camera or camera phone
4. Lock (combination style...optional)
5. Sack lunch (we have a fridge + microwave for student use during our one hour lunch break)
6. Layers (temp in WASH house may not be to your liking)

WASH House (M-TH) and Art Auditorium (Fridays)

Listen to podcast or watch video before first day of class

We hope you'll look, listen + contemplate before the first day of class.

Listen to the following podcast / mp3

prior to the first day of WASH, Wednesday, August 24 @ 9:30 am

LISTEN Janine Antoni
(audio lecture @ School Of Visual Arts, 2006)
or download it from itunes

OR
WATCH VIDEO Janine Antoni
(video lecture @ Cornell, 2010)

QUESTIONS

As animator, artist, designer, we do not create from nothing. There never is truly a blank page or screen. We ourselves are neither a blank page nor a blank screen. We do not create from nothing, so where do our ideas come from? Why? Where do IDEAS come from? Why are these ideas important to the artist? Why do artists, animators, designers use the specific materials they choose? Why do you? Why choose this material over that? What are these MATERIALS' significance? Why does the artist, animator, designer work in the specific manner with their materials and ideas? Why this method or process and not that? Designers, animators, artists make their work for a REASON? What is yours? Do you know? One reason or many? WHO do we make it for? Our self? Your brother? Men? God? Skaters? All people who wear underwear and have brown eyes? Is your audience many or few? Why these people? What do you want from them? What do they want from the work? Why? What? Where? How?

For each work Antoni discusses, listen for what materials she is using, what she did to or with them, and all the whys? Make a list of her whats and whys. Identify the sources of her ideas. How does she speak about her audience? What of their response? What does she want from them? Why does she love being an artist?

Bring lists/answers with you on Wednesday, January 19, we will be discussing her work in terms of its sources of inspiration, materiality, process, interaction with viewer and why she loves being an artist.

Images are linked to their source site. Click image.

Janine Antoni, Wean, 1989-1990

Plaster impressions in the wall.

Janine Antoni, Eureka, 1993

Bathtub, lard, soap, Corian

Janine Antoni, Slumber. 1993

Performance with loom, yarn, bed, nightgown, EEG machine and artist' REM reading

Janine Antoni, Gnaw, 1992

(video of Gnaw at MOMA)

Donald Judd, untitled, 1971

Eve Hesse, Accession II, 1968

Hans Haacke - Condensation Cube (1963)

Lick and Lather, 1993

Loving care, 1993

Loving care, 1993

Mierle Laderman Ukele, Hartford Wash: Washing, Tracks, Maintenance:Outside, 1973 performance at Wadsworth Atheneum, Hartford, CT, part of Maintenance Art Performance Series, 1973-74

Yves Klein, Untitled Anthropometry (ANT 100), 1960

WATCH 1962 Ives Klein Anthropometries of the Blue Epoch, 1962

Jackson Pollock, 1950

Janine Antoni, Mom and Dad, 1994

Janine Antoni, Butterfly Kisses, 1996-99
Cover Girl Thick Lash Mascara

Janine Antoni, Mortar and Pestle, 1999

Janine Antoni, Cradle, 1999
2 tons of steel

Janine Antoni, Saddle, 2000
Full Raw Hide; cast of artist's body

Kiki Smith, Tale, 1992.
Beeswax, microcrystaline wax, pigment, and papier-mache.

Janine Antoni, 2038, 2000

Janine Antoni, Umbilical, 2000
Sterling silver cast of family silverware and negative
impression of artist's mouth and mother's hand

Janine Antoni, Moor, 2001

Janine Antoni, Moor, detail, 2001

Janine Antoni, Touch, 2002

Janine Antoni, To draw a line, 2003

Janine Antoni, Caryatid (Crackled green glaze over red oxide on an ovoid bodied vase with a truncated neck), 2003

Janine Antoni, Tear, 2008
Lead, steel, HD video projection with surround sound
4,182 pound wrecking ball 33" diameter
projection 11' x 11'

Janine Antoni, Conduit, 2009
(Detail) Copper sculpture with urine verdigris patina, framed digital c-print

Janine Antoni, Conduit, 2009 (Detail)