Proposed Working Artist Questions

Name:

1.     Where are you from originally?

2.     Where did you get your college education?

3.     What did you study?

4.     What is your expertise?

5.     How did you get involved with Identity Blueprint?

6.     Do you enjoy working with the girls at Identity Blueprint?

Proposed Artist’s Statement Lesson Strategy

Week 1
--Pose a question: “What is an artist’s statement?”
--Get them to ask themselves some questions:
• “What do you like best about what you do?”
• “What do you want people to think when they see your work?”
--Every time that they are working, tell them to jot down certain words or phrases,
which explains their experience, in their sketchbooks.
--Have artist think about their technique and process as they work.
Week 2
--Ask them to share their words /phrases that they have in their sketchbooks with us.
Then we will help them take those words/ phases and transform them into
articulated sentences.
Hope to find a good collection.
**As for plans for the other weeks, lets base it off how successful the first two
weeks are and then create a plan from based on observations of those weeks.

Homework Due 04.05.12

Go to the Brooklyn Museum of Art to see

Keith Haring: 1978-1982.

This inspirational show has a lot to offer each team in Lab.

We want you to consider the show and write a 2-3 paragraph reaction (posted as a comment to this blog entry) from the perspective of your Lab team. This is due: 04.05.12. Below are some questions and suggestions for each team when reviewing the exhibition. We will discuss this assignment in class when we are all together on the 5th.

Print Team: What is the printed matter available to you in this exhibition? Visit the gift shop and review the catalogue for the show, as well as the other catalogues available. What do you like about them? How do they function as documentation of the exhibition? What the elements you can take away and possibly utilize in the design of the IB exhibition catalogue?

Web Team: What is the role of video in this exhibition? How did Haring use video in his career vs. how it is used in the exhibition to discuss him and his work? How do you learn about Haring from the videos? Look at the web component of the exhibition. What elements of the documentation can you take away and potentially use for the IB documentation?

Exhibition Team: Describe the use of didactic panels and wall text throughout the exhibition. How is the story of this period of Haring's life and career told? How is the information broken up for you? What do you like (and why)? What doesn't work for you (and why)? What elements of the exhibition can you use or incorporate into your plans for the IB exhibition? Please provide reasoning.

Team To-Do Lists/Deadlines: 03.29.12

Print Team:

• Artist Hand-outs (with all corrections and uniform design/template)-PDF and AI files to Emma, Evonne, Liz and Norene. --Due at the end of class (emailed)
• Cyanotype Hand-out--with images--ready for review by the whole class. --Due at the end of class (printed out)
• Layout ideas for the catalogue. --Due at the end of class (print-outs or sketchbook drawings)

Web Team:

• Login information sorted and ease of posting for all worked out. --Due at the end of class
• Posts (4, including this past Saturday). --Due at the end of class (posted to Tumblr)
• Written plan for tutorial for this Saturday. --Due at the end of class: One team member needs to do a post with/for the whole class, so we can all gauge the ease of posting.
• Email plan to Emma for use on Saturday. --Due at the end of class
• PSA story-board (including images/shots, interviews, graphics needed--and who is obtaining over the next few weeks). --Due for discussion at the end of class

Exhibition Team:

• Jobs from the board last week (Wall labels for the individual works, Wall panels, Lead Wall, Exhibition Layout, Exhibition Check-list, Install Crew) assigned to 1-2 team members with ideas in the form of sketches, writing, links/images of examples from other shows/inspirations. Actual planning, examples and ideas must be documented in the project plan and/or sketchbooks. --Due at the end of class for discussion.-Each person or team of two will present. This is not a group presentation of ideas.
• Layout ideas for the exhibition (which is included in the above, but we want to be clear that these need to be presented at the end of class). These are expected to be rough ideas at this point, but we need to see some concrete ideas of layout, use of space, colors, what elements you're thinking of including.--Due at the end of class. Again, these ideas cannot be talked about in the abstract. We will need to see drawings, images or links to examples from inspirational exhibitions, etc.

Artist Statement Strategy (Medha and Jasmine):

• The needs regarding artist statements for Saturday, March 31 need to be written up and emailed to Blair, Emma and Ana by the end of class.

Whiteboard from 03.22.12

*tomorrow* Roundtable Discussion: Structures of Exchange in Recent Art Practice

Date:
March 23 6-8pm
Location:
Parsons The New School For Design,
6 East 16th Street room #1009.

Join Shane Aslan Selzer and Ted Purves, editors of What We Want Is Free:
Structures of Exchange and Social Practice in Recent Art, in a roundtable
discussion with  ve artists at Parsons, The New School for Design. The
roundtable will focus on exchange structures: How are artists creating
service platforms to provoke dialogues? What are the potential bene ts
and pitfalls for each structure? After a brief presentation of case studies
in exchange by each artist (Caroline Woolard will present on Our Goods,
Kianga Ford on the Global Crit Clinic, Shane Aslan Selzer & Ted Purves on
What We Want Is Free, Heng-Gil Han on Jamaica Flux, Athena Robles &
Anna Stein on Jamaica Bucks), we will open up the conversation to discuss how, where, and when social practice occurs.

Participants:
Shane Aslan Selzer
Ted Purves
Caroline Woolard
Kianga Ford
Heng-Gil Han
Athena Robles
Anna Stein

Homework due 03.29.12

1. Read about Tyler Clementi.
We are participating in a community project, which largely depends on communication, mutual respect and understanding.

The guilty verdict has come in on the Tyler Clementi case, and we want you to read this article and write a reactionary post (submitted as a comment to this post).

For consideration:

• How do you feel about the verdict for this case after reading the article? Do you feel differently?
• Considering you own communication style and methods, how do you relate to this story?
• What is your hope for young people moving forward in this society with regards to each other and the ways that they engage and communicate?
• What would you tell incoming freshmen about relating to new people, dealing with roommates and new situations and potentially people who strongly disagree with you and your choices?

For more info on the verdict: http://www.nytimes.com/2012/03/17/nyregion/defendant-guilty-in-rutgers-case.html.

2. At least 2 entries for your sketchbook.

Your actual sketchbook may be in the display case, if so work in some other medium (photography, draw on other paper) and insert it into your sketchbook next week.

Absence Policies for Parsons and Gallery Aferro/Newark

General Policy from our syllabus:

Absences
Classes meeting 1 time per week: 3 absences are grounds for failure. 2 absences are grounds for a single grade letter drop (i.e. A to a B).

Tardiness
Two (2) tardies will be counted as one absence. Class begins on the hour sharp. The door to the classroom will be closed at that time. Anyone walking in after the door has closed (class has started) will be marked late. 5 minutes is considered tardy. Over 20 minutes is considered as an absence.
The following may be counted as tardy:
• Coming to class without the required materials
• Sleeping in class
• Being asked to leave class because of disruptive behavior
• Doing other course work in class

If you miss a Saturday session in Newark, this is considered an absence -- exactly as it would be if you missed class at Parsons. You are not obligated to go to class on Thursday, this Saturday session is your class time for that week. We understand that things happen, please let your teammates, Liz, and Norene know as soon as possible if you can't make it.

The only way to avoid an absence if you have to miss a Saturday is to get a team member to switch with you and attend class on Thursday of that week. In other words, you must make up class time, arrange a substitute and delegate all of your responsibilities for that day, and arrange to take on that person's responsibilities at a later date. Rescheduling is a pain in the !@#^$ for all of us, so please do your best to show up when you are scheduled.*

If you want to attend class on Thursday and go to Newark on Saturday, we will gladly give you extra credit.

*How does this impact the program? We can't have 20 people showing up on the last day to "makeup" for a missed class -- this is not fair to Emma, Evonne, the teaching artists, the participants or your teammates. Six people is more than enough help each week, and they can't be figuring out what to do with all of us at the last minute. There is also the missed week where they had less help than anticipated, and your own team's deadlines and responsibilities.

Team Building Research Trips

During the next few weeks, each team will be asked to participate in 3 different exercises to aid in the research and development of the team's Lab contribution to Identity Blueprint. These are team exercises, which means that they will be performed together, during lab time (without exception). Most exercises will take place between 11am-1:45pm, with teams returning to Lab by 1:45pm to report on their findings as a group (each member responsible for a component of the report).

There are 3 assignments below, which should be done in the order listed.

We know that not all of your teammates will be present for each exercise, which is why we'll be doing this over a the course of several weeks (to ensure that each team member is able to partake in at least one exercise).

Print Team:

As a group...

1. 3/22: Go to see MoMA's Print/Out exhibition. Take in the 20 years in the history of printed matter provided by this show, and detail some of the more successful examples of printed matter. Each team member should be prepared to discuss a favorite, least favorite and most inspirational piece that relates to the print work being developed for IB. Each team member should have a sketchbook entry from the trip.

2. 4/12: Visit the Met (we are arranging a discussion with the publications department). What did you take away from their process. What is important/essential for inclusion in any good exhibition catalogue? What is considered unique? Successful? What are some examples of inspirations you take away from this trip, which may or may not be of use for the IB catalogue. Each team member should have a sketchbook entry from the trip.

3. 4/19: Visit Printed Matter (we are working to have someone from PM meet with you to discuss artist print projects). Take stock of the artist printed projects. What do you like? What don't you like? What are some examples of inspirations you take away from this trip, which may or may not be of use for the IB catalogue. Each team member should have a sketchbook entry from the trip.

Web Team:

As a group...

1. 3/22: Go to the Whitney Biennial. Take a survey of the exhibition and the programming (screenings, live projects, performances, video documentation). What role does video, performance and programming play in the Biennial? How is the work and process described? Where (wall labels, programs, video, etc.)? Each team member should have a sketchbook entry from the trip.

2. 4/12: Take a trip to the Whitney Biennial's WATCH AND LISTEN page and review the biennial videos. Please do a detailed review of the interviews with the artists and curators. Do you gain a good sense of the show and the goals for the Biennial? How do the videos contribute to your understanding of the vision for the Biennial and/or the work exhibited? What do you think works in the interviews? What is not as successful?

Research the documentation and interviews used for this exhibition: FEEDBACK

Not every project in the show has an interview. However, the video interviews (featured on the right side of the project pages) are very well done. Not all of the documentation is that amazing. Please do a detailed review of this exhibition's online archive (from the video and video documentation, to the project arrangement and descriptions, to the overall sense of the exhibition that you are able to glean from this site).

Compare the documentation and interviews above (their styles and functionality in terms of conveying information and process). What can you take away to incorporate into the IB documentation?

3. 4/19: Go see the Paper Tiger exhibition at Fales Library (upstairs in Bobst). Survey the exhibition. Take notes on the how the work has been documented and presented. Do you come away knowing more about Paper Tiger and its history? Why? What role does video play in the exhibition? This is an exhibition about video. Each team member should have a sketchbook entry from the trip.

Exhibition Team:

As a group...

1. 3/22: Go see MoMA's Cindy Sherman exhibition. Survey the exhibition of this feminist icon. Take notes on the how the work is presented. Do you come away knowing more about Ms. Sherman? Why? What are the key exhibition elements (photos, videos journals, posters, etc.)? How are you provided information about the artist (wall labels, didactic wall panels)? What is the curator's vision for the exhibition? Where is this displayed? How is the work labeled (what is the content of a wall label)? What are the successful/inspirational elements of the exhibition that you would take away/modify for the IB exhibition? Each team member should have a sketchbook entry from the trip.

2. 4/12: Go see the Paper Tiger exhibition at Fales Library (upstairs in Bobst). Survey the exhibition. Take notes on the how the work is presented. Do you come away knowing more about Paper Tiger and its history? Who were they? What did they do? Why? What are the key exhibition elements (videos, photos, journals, posters, etc.)? How is the information about Paper Tiger and its history provided (wall labels, didactic wall panels)? How is the work labeled (what is the content of a wall label)? What are the successful/inspirational elements of the exhibition that you would take away/modify for the IB exhibition? Each team member should have a sketchbook entry from the trip.

3. 4/19: Go to the Whitney Biennial. Take a survey of the exhibition. How is the work and process described? If and how is the vision for the biennial described? Where (wall labels, programs, video, etc.)? How is the work labeled (what is the content of a wall label)? What are the successful/inspirational elements of the exhibition that you would take away/modify for the IB exhibition? Each team member should have a sketchbook entry from the trip.

Angels & Tomboys: Girlhood in 19th-Century American Art

Images: 
Abbott Handerson Thayer, Angel, 1887, Oil on canvas; 36 1/4 x 28 1/8 in., Smithsonian American Art Museum; Gift of John Gellaty
Edward Lamson Henry, Kept In, 1889, Oil on canvas; 14 x 18 inches, Fenimore Art Museum

Angels and Tomboys: Girlhood in 19th-Century American Art
Opens September 2012 at the Newark Musem

Angels & Tomboys: Girlhood in 19th-Century American Art is a major traveling loan exhibition, which is the first to examine nineteenth-century depictions of girls in paintings, sculpture, prints and photographs. Featuring approximately 80 masterworks by John Singer Sargent, Thomas Eakins, Winslow Homer, Cecilia Beaux and William Merritt Chase, the exhibition analyzes the myriad ways that artists vigorously participated in the artistic and social construction of girlhood while also revealing the hopes and fears that adults had for their children. While the sentimental portrayal of girls as angelic, passive and domestic was the pervasive characterization, this project also identifies and investigates compelling and transgressive female images including tomboys, working children and adolescents.

Organized by Dr. Holly Pyne Connor, Curator of Nineteenth-Century American Art, Angels and Tomboys debuts at the Newark Museum from September 12, 2012 to January 7, 2013, and will then travel.

http://www.newarkmuseum.org/angelsandtomboys.html

Gallery Aferro Opening this Saturday!!

If you're around, please come to the opening of skin hides at Gallery Aferro this weekend.

The exhibition is on March 10-April 14, 2012.

Opening: March 10 (7-10pm)

On-going Sketchbook Project

Joseph Grigely, “We’re Bantering Drunkening About What’s Important in Life”

Working in groups is challenging, and it's important to maintain your own vision -- so this is your individual assignment for Lab. Everyone will receive a sketchbook in Newark this Saturday, March 3 (unless you have let us know that you cannot attend that session, in which case, you will receive your sketchbook on Thursday, March 8). The sketchbook is specifically for this class, and will be reviewed/critiqued at the end of the course. Images, writing, etc. from the sketchbooks may be included in the exhibition catalog.

Everyone needs to keep the same sketchbook. No exceptions. Please reimburse Norene for the sketchbooks ($3) next week.

Sketchbooks will be collected at the end of class, graded and worth 20% of your final grade. If you want your sketchbook back, you can get it from us once grades are submitted.

Criteria:

• Through a series of no less than 2 entries per week, document your experience in, and create a portrait of Identity Blueprint.
• Sketchbook entries are not limited to drawings. Be creative. This is your personal and individual way to document the program and your experience with it.
• Please use any medium you feel comfortable with and are inspired to use (that can be incorporated into a sketchbook): drawings, painting, photography, collage, annotated graphic design elements, recorded interviews, writing (journal/narrative), or any combination of the aforementioned and/or medium not listed.

Please consider the following as you document:

• What is Identity Blueprint?
• What does it mean to you personally, to the community of Newark, to the art world to society as a whole?
• What is the program's significance--over time?
• What is your role in this program--over time?
• Who are the girls in the program? Do they change over the course of the 8 week program?
• Does your relationship to the program, to Newark and to the girls change over the 8 weeks?