|
ARTX490: Advanced
Studio—Syllabus Fall Quarter 2016,
Kalamazoo College Richard Koenig,
Professor Meeting
Time: 8:30 to 11:30 AM Tuesdays and Thursdays Meeting
Place(s): Student Studio Area of the Park Trades Center Class
Homepage: http://people.kzoo.edu/~rkoenig/educator/advstudio/advstudio.html Office
Hours: Tuesday 3:30 to 4:30 PM and Wednesday 2:30 to 4:30 PM (or by
appointment) Office
Location: Light Fine Arts Building 203, Phone: 337.7003 E-Mail:
rkoenig@kzoo.edu Course Goals
Preparatory
to their official SIP work, this departmental capstone course gathers experienced
art studio students together, regardless of their preferred media, in a seminar
setting. Students will produce artwork individually but contribute to a
rigorous workshop environment—which facilitates constructive criticism as
well as support and inspiration for one another. [Note: Students
are encouraged to continue conferring with one's SIP advisor while attending
this course.] Our
approach this term will be to repeat a creative cycle that will include the
following—reflection (upon what is important to the student), relevant research,
studio practice, and finally analyzing oneÕs production (where meaning is
created). The cycle will then be repeated—with the reflection segment
focusing on how to move oneÕs practice forward. Along the way weÕll also study contemporary
artwork to deepen your knowledge of that but to also contextualize your work
within it. Another
main goal of this course is to act as an introduction to how one might carry
this practice on beyond school. In this vein we will delve into professional
practices that includes crafting an artist statement, documenting your work,
creating an on-line portfolio, as well as applying for exhibits and grants. Prerequisite/Credit You
must be a Senior Art Major and/or have permission from the department to take
this class. This course serves as the senior component
of the Shared Passages Seminar program. Meeting Place(s) Our default meeting place will be the Kalamazoo College Community
Studio in the
Park Trades Center (326 W
Kalamazoo Avenue, Suite 312). We may occasionally meet in FA20 for
presentations and the like—I will let you know if this is the case. Work Space For the production of work, each student will use whatever studio
space best supports their given medium—but we
would prefer this to be in the PTC so that a collective energy can be
engendered. Each student must sign a separate contract
covering the expectations and rules for appropriate use of the space prior to
receiving your key and security access. Students registered for a studio SIP
during winter quarter, may continue working in the PTC for the duration of their
SIP, including winter break. Students exhibiting their SIP during the spring
term may be able to use the space for storage and/or studio work during
spring term, as well. Critiques We
will have five critiques over the course of the term when work will be expected.
The amount of work presented for each critique, as well as its degree of
finish, will depend upon the nature of your work and the soundness of your
ideas. (For instance, early on, one could do many studies or maquettes to test out ideas in lieu of one piece with a
high degree of finish.) Digital Journal—Repository
of Ideas Each
student will keep a digital journal throughout the term to track your
reflection, continued research, and response. While I will give you prompts for
some of the content in this ongoing record, it should be a place to organically
record your ideas and how they morph over time. As for these prompts, one of
the main chores will be a series of reading summaries. Each student will do two
relevant (and required) readings of your choice—these can be articles,
book chapters, or entire books. These
readings should relate to your content, concept, and/or studio practice. The reading
summaries will follow a set format (that I will provide) and will be transferred
into your digital journal. (A brief synopsis will be given orally in class.) One
can also record impressions of artwork viewed (ArtPrize,
Richmond Center, KIA) as well as drafts of your artist statements and the like.
This journal will be reviewed at midterm as well as at the conclusion of the
course. Grading Merely
completing the requirements for an assignment, bringing in work and attending
every critique, will not assure a good grade for this course. Assuming a
certain level of technical expertise in your given medium, IÕll be more
concerned with the concept behind your project, depth of exploration and risk
taking, as well as the appropriateness of your chosen form to get that idea
across. Below is a breakdown of how your final grade will be determined: á
50% Production
for Five Critiques á
18% Participation á
12% Reports á
10% Digital
Journal á
10% Website Participation
This is very different than attendance—it is in addition to
it, if you like. Good participation means one actively and candidly contributes
to the conversation during critiques, while also being supportive of your
peers. It means one arrives to the classroom on time, is prepared, and shows by
means of facial expression and body language that one is following what is
going on. It means, quite simply, that one contributes to a positive class
atmosphere. Along those lines, one important note about critiques: we criticize
the work, not the person making the work. Please set phones to airplane mode—do not email, text, or
Facebook during structured class time. Attendance
Attendance
is mandatory. It is crucial that you miss as few of the meetings as possible as
the instruction builds upon itself. After two
unexcused absences your grade can be lowered at my discretion. This
penalty is applied to your course grade after it is determined using the above
formula. One must have documentation to obtain an excused absence. Also, two
late arrivals will be counted as one absence. If you do miss a class, get notes
from another student. Reports & Website
Each
student will give six short reports throughout the term—previous work and
initial SIP proposal (1), influence and context (1), reading summaries (2), and
on two more contemporary artists who contextualize their work (2). Additionally,
by the conclusion of the term, each student will have created a website
designed to showcase their work and supporting materials—biography,
artist statement, and resume. Disability & Safety
Any student with a disability who needs an accommodation or other
assistance in this course should make an appointment to speak with me. Please work with each other on getting to and from the Park Trades
Center safely. Texts/Readings/Closed Reserve There
are no textbooks require for this course. Students will conduct relevant
research for their work and will be required to keep summaries in a digital
journal (see above). Here are some books that are available in our libraryÉ Theory Theories and Documents of Contemporary Art:
A Sourcebook of ArtistsÕ Writings Edited by
Kristine Stiles, N6490 .T492 2012 Theory in Contemporary Art Since 1985 Edited by Zoya Kocur and Simon Leung, N66
.T49 2005 Postmodern Perspectives: Issues in
Contemporary Art Edited with
introductions and postscript by Howard Risati, N6494.P66
P67 1998 Art after Modernism: Rethinking
Representation Edited and
with an introduction by Brian Wallis, NX456.5.P66 A74 1984 Art and
Artists Contemporary Art: Art Since 1970 Brandon
Taylor, N6490 .T36523 2005 Art 21: Art in the 21st Century N6512 .A6685 2001 Art on the Edge and Over: Searching for
Art's Meaning in Contemporary Society, 1970s-1990s Linda Weintraub, Arthur Danto, Thomas McEvilley,
N6490 .W45 1996 Avant-Garde and After Brandon
Taylor, N6490 .T36 1995 Material Costs You
will probably have to spend between $100.00 and $300.00 for whatever materials
are needed—depending on your particular medium and scope of project.
|