School of Art and Design Pratt Institute Department of Art and Design Education Fall 2012 ADE 630

Media and Materials: From the Studio to the Classroom Instructor: Aileen Wilson http://about.me/AileenWilson Office hours: by apt. [email protected] SH 217, Tuesday 5pm -7.50pm Mother blog: http://www.fromstudiotoclassroom.blogspot.com/ You will be sent an invitation to join the blog. Class website: www.ade630.weebly.com/ Password: Aileen Accommodations for students with disabilities Pratt Institute is committed to assisting students with documented disabilities who are otherwise qualified for admission to the institute. Students requesting accommodations must submit appropriate written documentation to Director of Disability Services and Parent Programs : Mai MacDonald on 718 636 3711 in the office of the Vice President for Student Affairs. Bulletin Description This exploration of a central element in planning and implementing an art curriculum begins with the research and development of a series of related art projects. Particular literary works serve as subject matter for the projects and extensive experimentation with a variety of studio materials (photo-based media, computers, film and video) is encouraged.Through reading, writing, and discussion, issues such as age-appropriateness, teaching techniques and learning styles are also considered. Course Description Through a consideration of the themes, practices and concerns of contemporary art, pre-service teachers will learn how to adapt and translate these ideas into educational experiences with children and adolescents. Themes such as the fragmented body, practices such as appropriation and concerns such a site/situation are the motivation for exploring the processes, properties and expressive uses of a range of materials, particularly found and recycled materials. This course develops the kind of thinking that is not imitative of the themes, practices and concerns in contemporary art but rather supports the idea of adaptation, translation and the production of new meaning. Students will work with a range of materials and look at ways of structuring and motivating groups of children and adolescents in those materials. It will be a hands-on class in the studio.

Additional Information This course introduces students to the knowledge and skills identified as necessary in the profession according to New York State Department of Education Framework for Teaching (2011) and Danielson, C. (2007). (2nd ed.) Enhancing professional practise: A framework for teaching. Alexandria, VA: ASCD. Therefore upon completion of this course students will have addressed Domain 1: Planning and Preparation and: 1a- Demonstrated Knowledge of Content and Pedagogy 1b- Demonstrated Knowledge of Students 1c- Demonstrated Knowledge of Setting Instructional Outcomes 1d -Demonstrated Knowledge of Resources 1e -Designed Coherent Instruction As evident in: Formative Portfolio Assignment#1 Assignment #2 Assignment #3 Upon completion of this course students will have addressed Domain 2: The Classroom Environment and demonstrated knowledge of how to: 2a- Create an environment of respect and rapport. 2b- Establish a culture for learning. 2c- Manage classroom procedures. 2e- Organize physical space. As evident in: Formative Portfolio Upon completion of this course students will have addressed Domain 3: Instruction and demonstrated knowledge of how to: 3a- Communicate clearly and accurately. 3b- Use questioning and discussion techniques. 3c- Engage students in learning. 3d- Provide feedback to students. As evident in: Formative Portfolio Assessment Portfolio for each student on www.ade630.weebly.com Formative Portfolio: weekly reflection sheets, short projects/books/folios, studio work, sketchpad, gallery visit, installation idea (group work) and additional work as assigned 40% 2

Assessment: Student, teacher, peer review and critique Summative Portfolio: 30% #1 (10%) TBD #2 (10%) Crowd Sourcing Project (Kickstarter, Indiegogo) in groups to be discussed in class #3 (10%) Final Project and Exhibition to be discussed in class Assessment: Peer/Instructor review and critique Attendance 20% On the website are PDFs for written assignments designed to reflect on, prepare for and enhance the learning that takes place in the studio. Mid-term grades will be assigned after individual conferences. Community Standards Plagiarism Plagiarism means presenting, as ones own, the words, the work, information, or the opinions of someone else. It is dishonest, since the plagiarist offers, as his/her own, for credit, the language or information, or thought for which he/she deserves no credit. (see page 68, Pratt Institute Student Online Handbook) Attendance and Conduct The continued registration of any student is contingent upon regular attendance, the quality of work and proper conduct. Irregular attendance, neglect of work, failure to comply with Institute rules and official notices, or conduct not consistent with general good order is regarded as sufficient reasons for dismissal. There are no unexcused absences or cuts. Students are expected to attend all classes. Any unexcused absences may affect the final grade. Three unexcused absences may result in course failure at the discretion of the instructor. (see page 68, Pratt Institute Student Online Handbook) It is not permitted to hand in work for this class that was produced for other classes (Pratt Institute Student Online Handbook). Classroom Community As a courtesy to your classmates, please arrive to class prepared and on time. In the interests of learning, there is NO text messaging or emailing permitted during class time and all laptops and cellphones MUST be turned off. Arriving late twice (arriving more than 5 min. late) will count as one unexcused absence. NB Please note that the syllabus is a plan of what might happen every week but is likely to change in response to interests and ideas that emerge during the course. It is your responsibility to keep up with any changes. 3

Week 1 8/28
Whats most desirable is to fashion instructional activities that have the students examining, reflecting, questioning, and responding to the important issues of their world by engaging with the concepts and inquiry that spurred the artists thinking and art making. What you dont want is for students to simply re-create the form of the artists works. The goal of basing curriculum in contemporary art is to engage students with current culture, not to replicate 25 or so mini-versions of the artists work. Melinda M. Mayer, Considerations for a contemporary art curriculum.

Welcome. Introduction Short project: Make a simple folded book. Introduce the idea of limitation, repetition, restraint allowing emergence, evolution and development of themes and ideas. See book template. Motivation: Key ideas from your writing in Questionnaire#1 - using whiteout on grey paper in a box template. Discussion: The Studio? What is your concept of the studio? Where is the 21st century artists working and why? Reading posted. Share citations. What is the crit.? What is its purpose? Reading posted. Share citations. Artists and Ideas: Using online services and resources. Review of course requirements and expectations Assignments for week 2, 9/4: Weekly sketchpad entries (x2). Read the handout (PDF on the weebly site) on taking a good photo and photograph your Sketchpad entries, upload to flickr, create a collection and label Week 1. Select public as your flickr setting and email me the link. Buy a large inexpensive portfolio for storing your work. One page reading response on each topic: 21st century studio- Where is the 21st century artists working and why? Where are you working and why? The crit.- what is the process and purpose of a studiocrit.? What has been your experience of it? Developing on your notes from class, write a one page response on each topic. Email to [email protected]

Week 2

9/4

[Postmodern art teachers] see their task as intermingling their knowledge of art with that of their students such that all parties arrive together at a new place. Fehr, D. (1994) Studies in Art Education 35, 4.

Make a Figure: Create a Crowd Sketchpad entries. Sketchpads open at the page in the studio. Folder books Review Weekly Reflection sheet. Short project: Chain in the shape of a figure. Studio Work: Stations-1. Bent paper figures on a shelf. 2. Document reader projections-pencils, mirrors 3. Making a figure structure using foam, wire and panty hose (self portrait or action figure). 4. figures attached to tubes. Motivation: dolls, bears and action heroes, dolls clothes, Critique: What can we take from this into our work with children? Artists and Ideas: Tara Donovan, Jean Shin, Cloth or fabric figures Louise Bourgeois, Ernesto Nieto, Oliver Herring: Knitting Mylar Sculptures Art 21; Exhibition-Subversive Stitch; Jan Sterbach; Sculpture Today-chapter on clothing, image of knitted coke can, Charles leDray-handcrafted clothes in miniature and more. Assignments for week 3, 9/11: Sketchpad entries (x2). Assignment #1- begin work. Assignment #2- prepare with team. Week 3 9/11
The art world is now like Wikipedia: It is vast, multilingual, collaborative, inconsistent, contradictory, and coming from everywhere. As with Wikipedia, anyone can participateIt means discerning the original from the derivative, the inspired from the smart, the remarkable from the common, and not looking at art in narrow, academic, or objective ways. It means emerging uncertainty and contingency, suspending disbelief, and trying to create a place for doubt, unpredictability, curiosity and openness. Jerry Saltz, Senior Art Critic for New York Magazine.

Make a Figure: Create a Crowd Sketchpad entries. Sketchpads open at the page in the studio. Box drawings. Review Weekly Reflection sheet. Short project: Chain in the shape of a figure. Studio Work: Stations-1. Bent paper figures on a shelf. 2. Document reader projections-pencils, mirrors 3. Making a figure structure using foam, wire and panty hose (self portrait or action figure). 4. figures attached to tubes Motivation: dolls, bears and action heroes, dolls clothes, Critique: What can we take from this into our work with children and adolescents? Artists and Ideas: Tara Donovan, Jean Shin, Cloth or fabric figures Louise Bourgeois, Ernesto Nieto, Oliver Herring: Knitting Mylar Sculptures Art 21; Exhibition-Subversive Stitch; Jan Sterbach; Sculpture Today-chapter on 5

clothing, image of knitted coke can, Charles leDray-handcrafted clothes in miniature and more. Assignments for week 4, 9/18 Complete Weekly Reflection and hand in. Sketchpad entries x2 Photograph all studio work and sketchbook entries. Assignment for week 5, 9/25 Complete Weekly Reflection Weekly sketchpad entries x2 Photograph all studio work and sketchbook entries. Assignment #1 DUE WEEK 5. Weeks 4/5 9/18, 9/25

teaching about contemporary art involves making links with other areas of knowledge. Artists today explore science, literature, history, robotics, medicine and forensic science with great fascination. The study of contemporary art can no longer be contained within the narrow confines of the western or modernist canon and for some this involves a degree of anxiety as the subject art makes potential curriculum links with subjects such as science, literature, history and social studies. When the subject art moves into the sphere of visual culture it does demand that art rethink the very boundaries of the subject. Lee Emery, Art Education in a postmodern world

The Contemporary Ruin: appearance/disappearance Sketchpad entries. Sketchpads open at the page in the studio. Assignment #1 DUE WEEK 5. Assignment #2 DUE WEEK 10. Short project: Recontextualizing objects/photos Motivation: Photographer-New Jersey, Detroit Mapping, East Germanywolves, Japan photos after the Tsunami, garbage in Atlantic, Prattfolio on Sustainability Studio work: plastics, installation proposals (see handout) Worksheet Assignment # 1- TBD and grading rubric. Discuss Assignment#1. DUE Week 5. Critique: What can we take from this into our work with children and adolescents? Artists and Ideas: Anslem Keifer, Eve Mosher Insert Here, Chris Jordan, Liu Jianhua, Slinkachu Assignment for week 6 and 7, 10/2 and 10/9: Complete Weekly Reflection and hand in. Weekly sketchpad entries x2 Photograph all studio work and sketchbook entries. 6

Complete mid-semester course evaluations due and mid-semester selfevaluations (PDF on Weebly site) and email to [email protected].
SCHEDULE MID-SEMESTER CONFERENCE WITH AILEEN WEEK 7.

Assignment#2 Kickstarter Project. Week 7 /8 10/9, 10/16 Size and Scale: Space and Place Weekly sketchpad entries. Sketchpads open at the page in the studio. Short project: Aluminum foil etching. Google maps of your street, floor plans. Folded folder for maps. Motivation: Architects model figures, paper sculpture forms by architects Studio work: Marks on paper and using clear tape make a special place / Tyvek cut out- with the prompt-It was a long journey home. Critique: What can we take from this into our work with children and adolescents? Artists and Ideas: Tin ceilings, Installation Art in the New Millennium; Sculpture Today; Paul Pfeiffer: Dutch Interior; Taylor McKimen; Fred Wilson; Project using on piece of paper-Hirschorn; Home Sweet Home Project; Vyzoviti, S. (2003) Folding architecture: Spatial, structural and organizational diagrams. California: Gingko Press. http://www.joseebienvenugallery.com/artist_maggi06-12.html, Assignments for week 8, 10/16: Complete Weekly Reflection [email protected] Sketchpad entries x2 Prepare for mid-semester conferences: Assignment for week 9/10- 10/23 10/30 Complete Weekly Reflection Sketchpad entries x2 Photograph all studio work and sketchbook entries Assignment#2 Phase II -Launch Kickstarter Site. Week 9/10 10/23, 10/30

To be an architect you have to be the builder, the poet, the humanist. [you have to have] the capacity to make thingsyou are ultimately making something.you have to be a pragmatist as you have to know how to do things, [how] to make thingsmaking things for peoples dreamsyou must have the force and energy to invent Renzo Piano, architect, interviewed on Charlie Rose, May 2009.

Fragmented Body: Sculpture on a small budget Sketchpad entries. Sketchpads open at the page in the studio. Share Kickstarter sites. 7

Short project: motivation (Book of Anatomy and Surgery, Blood in Pratt Library), material (select colors) surface (off white paper), size 9x9. Gesso transfers. Cell images, black and white conte on grey paper. One image of an accordian of images. Motivation: Bodies, Limbs and Fragments, hollow chocolate rabbits. Studio work: A 3D form of the cell imagery Worksheet #3 Critique: What can we take from this into our work with children and adolescents? Artists and Ideas: Antony Gormley, Magdalena Abakamowicz, Kiki Smith, Mona Hatoum -video of the esophagus, Oliver Harring: Gloria-photo sculpture Art 21; Christ in Chocolate-the controversy, Mark Quinns piece from the Sensation Show; chocolate hollow rabbits, Image of aluminum mold of car; Abu Dhabi Biennale, skin, limbs, inside/outside, the feeling body, the human/posthuman body Skin-skin shows, tatoos, nip-tuck, pre-op drawing on faces, embedded imagery under the skin, liposuction, skin melting, Shiran Neshrat, French artist who changes her face, "carnal culture of flesh" 11/6 NO class. Election Day. Assignment for week 11, 11/]13: Complete Weekly Reflection and email to [email protected] Sketchpad entries x2 (you should have 20 entries in total). Photograph all studio work and sketchbook entries Assignment#2 - Updates on sites. Assignment for week 12, 11/20: Complete Weekly Reflection and email to [email protected] Photograph all studio work and sketchbook entries and create collections on Flickr. Assignment#3- Final Project. Look back over your Sketchpad entries, and begin to think about your final project and/or review last years catalogue. Week 11/12 11/13, 11/20
To get to the idea of playing it is helpful to think of the preoccupation that characterizes the playing of a young child. The content does not matter. What matters is the near withdrawal state, akin to the concentration of older children and adults. The playing child inhabits an area that cannot be easily left, nor can it easily admit intrusions. This area of playing is not inner psychic reality. It is outside the individual but it is not the external world. Into this play area the child gathers objects or phenomena from external reality and uses these in the service of some sample derived from inner or personal reality D.W. Winnicott, Playing and Reality.

Strangers to Science: Drawn to Print Books Weekly sketchpad entries. Sketchpads open at the page in the studio. 8

Discuss the image and text for the PDF catalogue for final exhibition. Invitations and design to be discussed. Discuss Final Projects-Due Week#14. Short project: seed pod drawings, pen and ink on stickers-sticker art. Studio work: Printmaking techniques x4. A print folio of small images- study; seeds; cells; sustainability. Water based and oil based. Embossed cover or alphabet stamps. Critique: What can we take from this into our work with children and adolescents? Artists and Ideas: National Geographic photos, nature images, patterns in nature, Mark Dion, Share reading Art and Science, Royal de Luxe and the elephant; http://www.youtube.com/watch?v=_Qa2HMpiQuc, Simon Starling, Maria Thereza Alves, Botanical Studies, Seed imagery, Lorna Fraser Assignment for week 13, 11/27: Complete Weekly Reflection and email to [email protected] Photograph all studio work and sketchbook entries Continue work on final projects, due week 14. Assignment for week 14, 12/4: Complete weekly reflection Photograph final project for catalogue and finalize text and email to [email protected] Prepare for Open Studio Exhibition, week#15. Week 13 TBD Week 14 11/27 12/4

Indeed recent research by the National Foundation for Educational Research [UK] convincingly concludes that schools which incorporate contemporary art practice into their curriculum see an improvement in the motivation and enthusiasm of students while encouraging creativity and thinking skills and widening students social and cultural knowledge. Tom Hardy, Art education in a postmodern world

Final Projects due. Open Studio Exhibition. Course Review and Evaluations. Assignment for week 15: Final project due. Week 15 12/11 By apt. only.

Other ideas may include: Accumulation: Found Images Sketchpad entries. Sketchpads open at the page in the studio. Short project: Stations with different possibilities. Transform a postcard, found photos, oil rub collage, solvent rubbed on newspaper. Studio work: Choose one and do a larger, more developed piece of work. Motivation: Work with a theme: Shadows and The Mysterious; Time; Clouds; Fragments and Remains: others TBD Critique: What can we take from this into our work with children and adolescents? Artists and Ideas: Dieter Roth, Yoshitomo Nara, Thomas Hirschorn, Ellen Gallagher, Do Ho Suh Who Am We wallpaper, Jorge Macchi, Trenton Doyle Hancock: It Came From the Studio Floor Video, William Wegman ...
Inspiration is for amateurs. I just get up and get to work. Chuck Close cited by James Fry

Installation: Nomadism Sketchpad entries. Sketchpads open at the page in the studio. Short project: motivation-colored inks on blotting paper or coffee filters, Motivation: Why do artists make multiples? Studio work: objects bags, suitcases, travel, tickets, evocative objects Critique: What can we take from this into our work with children and adolescents? Artists and Ideas: Rotunda Gallery artists ...
The transitional objects of the nursery-the stuffed animal, the bit of silk from the baby blanket, the favorite pillow-all of these are destined to be abandoned. Yet they leave traces that will mark the rest of lifeduring all stages of life we continue to search for objects we can experience as both within and outside of the self. Sherry Turkle, Evocative Objects.

Memory: Lost, misplaced or stolen objects Short project: TBD Studio: Letter, photograph to put inside object. Paper mache of memory object Motivation: 9/11 memorials, PBS documentary, Keifer, Boltanski Possible extension: Shelves-creating temporary shelves; Cover/spray the form in another material, spray ...

10

We consider interaction to be a form of artistic expressionWe work almost exclusively through interactive processes in which the representation of themes and issues directly involves concerned people or groups. Our work is not necessarily designed as communityorientated projects but as art realized with communities as part of the larger society, delving into the relationship between these communities and society. Mauricio Dias and Walter Riedwig, artists.

Impermanence: Structures Sketchpad entries. Sketchpads open at the page in the studio. Worksheet# Short project: Draw balls (assorted). Create a fantasy castle in paper (outside and inside). Paper figure with a rolled tube behind. Temporary shelters. Motivation: childrens balls, balls of string, spheres, boxes and play, ball of elastic bands Studio work: cardboard strips, staple guns, cable ties, bamboo. In groups, make a structure you can hide in, or walk through. Critique: What can we take from this into our work with children and adolescents? Artists and Ideas: Martin Purlyear, Heart of the Beast Puppet Theater, Buckminster Fuller, Installation Today, Tree Houses, Large jacket for fashion show, Frank Gherys fish. Possible extension: Shelves-creating temporary shelves; Cover structure in a material. ... Color: What are the possibilities of tempera? Sketchpad entries. Sketchpads open at the page in the studio. Short project: motivation, material (red colored pencil), surface (vellum or paper), size (9x9) Worksheets# Motivation: Red! Written reflection on a remembered red. Studio work: An imagined, remembered or dreamt landscape in five small tempera paintings in different sizes. Paste results on wood blocks. Critique: What can we take from this into our work with children and adolescents? Artists and Ideas: Elizabeth Peyton, John Berger, Ida Applebroog; Beautiful Stuff by Topal and Gandini; Polly Apfelbaum; Tim Hawkinson (red biro drawing); David Batchelor; Spencer Finch. ... Deconstruction: What is inside an electrical appliance? Sketchpad entries. Sketchpads open at the page in the studio. Short project: What is inside an electrical appliance? Vellum with blue pencil

11

Motivation: take apart electrical appliances, diagrammatic drawing of how to put it back together, IKEA, threads, installation, imagining inside of electrical appliance, exploding objects, taking clothes apart and printing them, flattening objects and printing them. Nathan Myhrvold cookbook-exploding eggs Studio work: An appliance deconstructed and reconstructed. Worksheet # Critique: What can we take from this into our work with children and adolescents? Artists and Ideas: Cornelia Parker, Jean Shin, Damien Ortega, ... The Street: Materials and Performance Artists and Ideas: PosterBoy, Swoon, polar bear that fills with air, slinkachu, JR, Catalogue and reading Motivations: Film Posters, stickers, homies

Some of the references that will be used in the class: Blanciak, F. (2008) Siteless: 1001 building forms. Cambridge MA: MIT Press.

12

Glen, J. & Hayes, C. (2006) Taking things seriously: 75 objects with unexpected significance. New York: Princeton Architectural Press. Harmon, K. (2004) Personal geographies and other maps of the imagination. New York: Princeton Architectural press. Harding, A. (ed.) (2005). Magic moments: Collaboration between artists and young people. London: Black Dog Publishing Hoptman, L. (2002). Drawing now: Eight propositions. New York: Museum of Modern Art. Ivashkevich, O. (2006) Drawing in childrens lives in J. Feinburg (ed.) When we were young: New perspectives on the art of the child (University of California Press), 45-59. Jacob, M. J. & Grabner, M. (2010) The studio reader: On the space of artists. Chicago: The University of Chicago Press Mathews, J. (1999). The art of childhood and adolescence: The construction of meaning. London and Philadelphia: Falmer Press. Nesbett, P. & Andreas, S. (2006) Letters to a young artist. New York: Darte Publishing. New, J. (2005). Drawing from life: The journal as art. NY: Princeton Architectural Press. Robertson, J. & McDaniel, C. (2005) Themes of contemporary art: Visual art after 1980. Oxford: Oxford University Press. Smith, K. (2007) Wreck this journal. New York: Penguin Group (Inc). Smith, E. K. (2007) How to make books: Fold, cut & stitch your way to a oneof-a-kind book. New York: Random House, Inc. Smith, E. K. (2008) Magic books & paper toys. New York: Random House, Inc. Taylor, T. (2009) Eco Books: Inventive projects from the recycling bin. New York: Lark Books. Turkle. S. (2007) Evocative objects: Things we think with. MA: The MIT Press.

13

Vyzoviti, S. (2003) Folding architecture: Spatial, structural and organizational diagrams. California: Gingko Press Vyzoviti, S. (2006) Supersurfaces: Folding as a method of generating forms for architecture, products and fashion. California: Gingko Press Weintraub, L. (2003) Making contemporary art: How todays artists think and work. Thames & Hudson: London Guidelines for assignments Sketchpad entries Two sketchbook entries are due each week. This is your opportunity to continue your studio work, reconnect with your studio work and/or explore and experiment with new ideas, materials and processes. A very broad concept of drawing is appropriate and all drawing materials including a wide range of collage materials and paint apply here. There is a list of Drawing Provocations (PDF on Weebly site) if you want some additional ideas and from time to time I may assign materials or ideas for an entry. Buy a 9x9 sketchpad as the change of size will provoke some new work. Go to the link below to buy online. http://www.beepaper.com/paper/classic-super-deluxe.asp Assignment#1 TBD Assignment #2 TBD Assignment #3 Final Project This is your opportunity to produce a piece of work that relates in some way to the themes, practices, concerns, techniques and/or materials that have been explored in class. Ideas will have emerged during the semester and you will have discussed these ideas with your fellow artists. A photo of your work with title, dimensions and materials will be submitted for the exhibition catalogue and friends and faculty will be invited week#15.

14