Class 24_Homework

Dear students
Here are a few things to take note of:

• There is no new homework this week. Please be prepared to turn in you Logbook binder for a final grade on Tuesday, April 24th.
• I will contact you by Sunday, April 22nd to let you know if it is okay to set up in your first-choice space. If not, I will let you know what space to set up in [more than likely, you will get the space of your choice, yay!].
• Student Installation Schedule
• Tuesday - Tess, Nathan, Olivia, Donald
• Thursday - Brandon, Sarah, Kristen, Sharline, Aden
• Even if you show on Tuesday, it is expected that you will also be present on Thursday to support your peers and give them feedback as they run their critiques.
• If you have any questions, please do not hesitate to contact me.

I look forward to seeing your work! I know you will make it FANTASTIC!!

Sincerely,

Professor Urrutia

Class 23_Homework

Installation - Phase 2

c23_a1
Installation Contract and Proposal

Due: Thursday, April 19th, by the end of class

Format:  Typed up, Printed, and Submitted in class

You need the following to complete this assignment:

Floor Plan Maps

Installation_Contract and Proposal 

Overview: 
Finish and include all necessary items to complete the Installation Contract and Proposal. Please be sure to staple all items due together and in the order requested. Your instructor is not responsible for the loss of forms and their parts when these are not stapled together. If you fail to turn in this work, in the manner asked for, you will not receive full credit and you may be barred from fully realizing your final installation piece. Please contact your professor with any questions.

Directions: 
Fill out the Contract/Proposal given to you in class as neatly and legibly as possible. Turn in your completed forms at the end of class.

c23_a2
Finalized Installation

Due: Tuesday, April 24th

Format: As an installation in real space or a refined and finished model.

*Note - Although this due date is set for Tuesday, April 24th, there will be presentations on Thursday, April 26th. Those who are scheduled for Tuesday have already made contact with the professor. All others should be prepared for install and critique on Thursday, April 26th

-You may not fully install work if you have not submitted a model. Doing so may fail you for the course
-You may not fully install work if you have not submitted and signed a contract. Doing so will fail you for the project and may fail you for the course
-Your fully installed work may not deviate from the parameters of your signed contract. Doing so may fail you for the course
-You may install work before class so that you are ready to present at the beginning of class, 2pm
-Your installation must be installed and presentable in the ways you intend despite inclement weather conditions. Be sure it has been weatherproofed if applicable.
-Your work may not interrupt the normal function of any area of the school in such a way that said area becomes unusable/un-passable. Disobeying this rule will lead to failing the project
-No biohazardous materials allowed. No hanging of figures in view of the public or anywhere else in the vicinity [in or out of school]. No weapons or explosives. Disobeying these rules will lead to failing the project and the course
-All work must be cleaned up so that the installation site is returned to its original or better condition by 8pm on the date of installation or said student will fail the final phase of this project
-There will be no makeups for the finalized Installation assignment, so be ready to present on your assigned date

c23_a3
Installation - Statement of Intention

Due: Tuesday, April 24th

Format: Typed and printed. Brought with you to class.

*Note - Although this due date is set for Tuesday, April 24th, there will be presentations on Thursday, April 26th. Those who are scheduled for Tuesday have already made contact with the professor. All others should be prepared for install and critique on Thursday, April 26th

First paragraph - this should be the latest version of your guiding principle.

Second paragraph - This should tell us how your visual elements and composition support the guiding principle above....

The second paragraph will briefly identify and discuss 
-any relevant new research
-the overall composition of space and materials and how each work together to deliver the content of your guiding principle
-the significance and interaction of the viewer in said space. 
-How the viewer and viewer interaction relates to the content of your guiding principle. 

Post your writing by your work in such a way where it will not blow away. 
Writing should not exceed 400 words.

c23_a4

Installation Title

Due: Tuesday, Tuesday, April 24th

Format: Printed at the bottom of your statement of intent. See Below

*Note - Although this due date is set for Tuesday, April 24th, there will be presentations on Thursday, April 26th. Those who are scheduled for Tuesday have already made contact with the professor. All others should be prepared for install and critique on Thursday, April 26th

Titles offer an additional way to add meaning to your work. A title is an opportunity to create an additional layer of meaning, content, or context. Titles should compliment or be in contrast to the work you develop. It should not be obvious, redundant, or simply restate what the audience can easily figure out by viewing the work. Your title to conform to the example below:

Your Name [Your Phone Number]

Title

Installation

[This work will be cleaned up by 8pm. Please text 901-240-4205 with questions]

c23_a5

Installation Critique Parameters & Questions

Due: Tuesday, Tuesday, April 24th

Format: Typed up and printed. Brought to class and followed. See Below

*Note - Although this due date is set for Tuesday, April 24th, there will be presentations on Thursday, April 26th. Those who are scheduled for Tuesday have already made contact with the professor. All others should be prepared for install and critique on Thursday, April 26th

The class has learned much about the importance of critique and how it functions and helps artists create stronger work. This final critique is your opportunity to show off what you have learned about receiving and guiding feedback. You will do this by facilitating and running your own critique. 

In preparation, please have the following things prepared [not necessarily in this order]:

*A step-by-step plan of how you will guide the conversation of your critique. Think of this as a play-by-play that you could give to someone. If they would be able to run this critique exactly the way you have planned by following the script, you have done what is being asked

*Questions for your audience that create discussion and insight about 1) the physical work, 2) the written work [you are required to read your statement aloud], 3) your title

*A method for recording what your audience says to you about your work

NOTE:  If you would like your professor to give you specific feedback, please direct some of your questions to them.

Your professor will be observing all conversations and interactions during your critique. This observation evaluation will be a large part of the participation grade for the semester for each of you.

Class 22_Homework

Dear Students -

For a Project Brief of the Installation Project Phase One - Model, please consult your notes and blog homework 19. If you would like some feedback on your writing, please send it tomorrow morning so I can send my comments to you in a timely manner.
Sincerely,
Professor Urrutia

c22_a1
Installation and Material Research 
Due: Today
Format: Completed and stored in the Logbook Homework section of your logbook.

Find no less than three artists that do installation work. It would be helpful if these artists do work that is connected to your guiding principle. Find photo examples of their installations and written examples of their ideas (a printed interview or artist statement will do). Paste these into your logbook and let us know in writing [do this in the margins of the printed articles] what you think about each sample and how these examples are helping you think about your installation. Additionally, form an opinion as to whether or not you think the work is successful and why. Look to Art in America or Sculpture magazines if your Google search comes up without results. Don't forget that a lot of museum sites are also great artist information resources. If you still can't find anything, please be sure to ask Sylvia in the library. She is very SMART and resourceful! 

Additionally, collect and read/annotate research materials that relate to your topic and direction. Photographic evidence of these materials will suffice as proof of your efforts and may be stored behind the new prescription page for this work [see c19_a1 Homework]. If you are installing outside, remember that your search should include materials that can withstand a multitude of weather conditions. Photos of materials left outside as experiment to how they will hold up could be excellent demonstrations of the planning segment of the sequential creative process. Consider at a minimum 3 new materials.
Sincerely,
Professor Urrutia

c22_a2

Installation Proposal Worksheet

Due: Friday, April 13th

Format: Complete the Installation Proposal Worksheet started in class. Store in the Logbook Homework section of your binder. Click here for a worksheet link if you have lost yours or didn't come to class.

Complete the worksheet using separate sheets of papers. This worksheet will be the cover sheet for any work done for this assignment. All work corresponding to completing this worksheet should be stored directly behind this handout.



c22_a3
Installation Model
Due: Tuesday, April 17th
Format: Three-Dimensional installation representation (model) that is physically present at the beginning of class, 2:00pm.

Make a small-scale model that recreates the space you propose to use for your installation project. This model should have the proportions of the space it represents as well as walls and ground that create the illusion of what that space looks like in real time. In addition, include any colors and textures of said space as much as reasonably possible, so that the critique group can view and comprehend your vision clearly. In other words, in your absence, someone should be able to identify your model space without written or verbal explanation. Viewers should also be able to understand exactly what will be going on in said space. 

Model making creates an opportunity for testing ideas concerning space choice and gives insight as to what exactly will be happening within said space, including the role viewers will have as they navigate through it. All of the details in your worksheet should be apparent in the model (maquette) you bring to class.



c22_a4
Installation Model - Outline of Intention
Due: Tuesday, April 17th
Format: Typed in Bulleted form, printed and brought with you to class

Make an outline that details the points below. Some points may be more than one sentence and that is okay:

• First paragraph - this should be the latest version of your guiding principle
• Write a few sentences that reveal any research that led you to the way you are thinking about installation. 
• Make a list of components that make up your composition. Link each element of the composition to the content of your guiding statement.
• Briefly explain how the space surrounding your composition relates and is integral to the materials within. In other words, how does the space of your installation deliver meaning that relates to your topic?
• Briefly explain how viewers/audience are meant to interact with, engage with, or become part of the installation.
• Give details as to how viewers will experience and navigate through the composition. In other words, how will your audience know what to do within?

c22_a5
Installation Titles & Critique Questions
Due: Tuesday, April 17th
Format: See Below

Part 1
Format: One for each image. Print and cut out so that you can place them by the photo they reference. At least 3"x5". Also, print out your questions

Titles offer an additional way to add meaning to your work. A title is an opportunity to create an additional layer of meaning, content, or context. Titles should compliment or be in contrast to the work you develop. It should not be obvious, redundant, or simply restate what the audience can easily figure out by viewing the work. Each title should also include your name like the example below:

Be sure to print and cut out a title card for each work. Use the label function of word. Select 5315 Note card and the program will create space to make at least [3] cards. Include the following on each card:
Your Name
Title
Installation Model


Part 2
Format: as a typed printed document with the proper heading as outlined in the syllabus. At least [3] questions.

You worked on this in the worksheet phase of this project's development. Prepare at least two questions to ask the critique group. Questions should be direct and specific, addressing areas of the work in such a way that will elicit responses that can help you figure out how to expand ideas or resolve issues in your work. The questions you develop should require responses beyond yes and no. Please do not prepare questions that can be answered with yes or no. Likewise, your questions should not be a ploy to convince your audience to agree with your point of view or opinion.

Class 21_Homework_April 10th

Modular Form Phase 2

c21_a1
Modular Form in Context Phase 2 - Worksheet 1 and 2

Due: Today

Format: Use the worksheet handout as a cover sheet. Put all work pertaining to these two worksheets behind this coversheet and store in the Logbook Homework section of your binder.

Please complete Worksheet 1 & 2 in preparation for the next phase of Modular Form. Write your responses on a separate sheet or sheets of paper. Scan any images you make and print these out in color. Put all work pertaining to these two worksheets behind the worksheet handout and store in the Logbook Homework section of your binder.

c21_a2
Modular Form in Context - Written Intention
Due: Thursday, April 12th 
Format: three separate typed and printed documents with the proper heading as outlined in the syllabus. 

The first paragraph of this writing will be your most recent version of your guiding principle. 
The second paragraph will briefly identify and discuss 
-your choice of ready-made
-the overall form said ready-mades create
-how overall form and ready-mades relate to your guiding principle

The third paragraph will 
-describe the relevance of your chosen context(s) [environments, settings, backdrops, etc] and how said context/s/ add meaning to your overall composition.
-describe the relevance of your chosen vantage point or perspective and the meaning it adds to your overall composition.

This third paragraph will change for each composition. 
Each written statement should be no longer than 400 words. 



c21_a3
[3] Images of the Modular Form in [3] Different Contexts 
Due: Thursday, April 12th 
Format: 3 printed color images, 8'' x 10'', (put your name on the back of each photo)

The final format of the Modular Form project is two-dimensional. The setting, surrounding, or context you choose should help clarify and develop the content of the work for the audience, reinforcing what your object of readymades communicates. You may use a field made of objects [Field = a large unbroken expanse (as of ice or fabric)], a real-life setting or scenario, material field, or a small-scale model to create a context or environment. Just be sure that the object you made remains a main character or focus of the photographic composition - We need to see enough of the object so that there is no question about what said object is. Here is the test: If someone who didn't see the object out of context cannot tell what the object is from the picture, you have not photographed it in such a way that the Modular Object is recognizable. Use the points of control learned in Rapid Idea Sketching to guide the final output of this work. You are in control of what the audience views. Use different perspectives and contexts for this final phase if it helps deliver your perspective.

In an attempt to clearly communicate your message, you will make and print three photographs. After you have printed these three photos, pick the image you feel most strongly delivers your content. When you display the work in class, place the strongest photo apart from the three other images. Write your name on the back of each photograph.

Printed photos should be 8” x 10" format (unless you choose a different aspect ratio of similar overall size). If you decide to present the work using a mat, be sure the mat is cut straight and clean. Your images should be printed on photo paper or high-quality inkjet paper, not copier paper. Capture your images at a high enough resolution so that your prints do not appear pixelated. Be sure to print your work in plenty of time. Oftentimes printers at school are broken or not working when a large number of students have work due!




c21_a4
Modular Form in Context: Titles & Critique Questions
Due: Thursday, April 12th 
Format: See Below

Part 1
One for each image. Print and cut out so that you can place them by the photo they reference. At least 3"x5" in size [size of an index card]. 

Titles offer an additional way to add meaning to your work. A title is an opportunity to create an additional layer of meaning, content, or context. Titles should compliment or be in contrast to the work you develop. It should not be obvious, redundant, or simply restate what the audience can easily figure out by viewing the work. Each title should also include your name like the example below:

Be sure to print and cut out a title card for each work. Use the label function of word. Select 5315 Note card and the program will create space to make at least [3] cards. Font should be Arial and 16pt. Include the following on each card:
Your Name
Title
Modular Form in Context



Part 2
Format: as a typed printed document with the proper heading as outlined in the syllabus. At least [2] questions.


You worked on this in the worksheet phase of this project's development. Prepare at least two questions to ask the critique group. Questions should be direct and specific, addressing areas of the work in such a way that will elicit responses that can help you figure out how to expand ideas or resolve issues in your work. The questions you develop should require responses beyond 'yes' and 'no'. Please do not prepare questions that can be answered with 'yes' or 'no'. Likewise, your questions should not be a ploy to convince your audience to agree with your point of view or opinion.

Class 20_Homework

Dear Class
For an explanation of this project please consult your notes and the introduction written out in the blog for class 19. 

As I mentioned in class, you have an opportunity to improve your work and statement for the Materials that Matter exercise if you so choose, using the feedback you received in class on Tuesday. The new and improved work will be graded instead of what you turned in for class. I will ask for this redo work at the beginning of class on Tuesday, April 10th. This is not an assignment. 

Here is some adhesive information in the course resource folder of the Google Drive that may help you with your projects: https://drive.google.com/open?id=1M-AQA3su5DO2kW8lcPCW-5XQOfVUMyJB
and
https://drive.google.com/open?id=1LQ2oXyGY9bXEjZOFvvNUkbq3tcNJVojt
Sincerely,
Professor Urrutia

c20_a1

Modular Form Project Development - Ready-Made and Form Possibilities

Worksheets 1 & 2

Due: Today, April 5th

Format: On a separate sheet/s/ of paper, complete worksheets 1&2 in detail. Discuss your results with the group upon finishing. Make a section of notes that details what feedback you were given. Store this work in the Logbook Homework section of your binder. Use the worksheet as a coversheet for this assignment and any work pertaining to said worksheet should be stored behind this coversheet to receive full credit.

c20_a2

Modular Form Object - Final Form
Due: Tuesday, April 10th
Format: As a 3D form, completely in the round. Brought in at the beginning of class 2:00pm sharp.

This final piece must be 'in the round'. In other words, you should be able to look at the work from all sides and the pixels that make the form should completely cover all sides. The Modular Form Object is not a drawing or writing. Be sure to use at least 20 ready-made objects for this part of the project. Readymades will cover every part of the form. All readymade objects must be 3D forms. If you have questions or concerns, please talk to your professor.



c20_a3 

Modular Form Object - Statement of Intent and Context Possibilities
Due: Tuesday, April 10th
Format: as a typed and printed document, with the correct heading, brought to class and presentable by 2:00pm sharp.

*The first paragraph of this writing will be the most recent version of your guiding principle. It shouldn't be over 10 sentences or more than 250 words.[Worksheet 1]. 

*The second paragraph will briefly identify and discuss 
-your choice of readymade
-the overall form said readymades create
-how overall form and readymades relate to your guiding principle

*At the end of this writing, please list at least 3 possible contexts (environments, settings, backdrops, etc.) this object could be placed in to finalize the composition. Additionally, for each context choice, describe how said context might impact and reinforce the content of the overall work.

Class 19_Homework

c19_a1
Project Prescription
Due: This work should be done as a project unfolds. 
Format: Print handout and use as a cover sheet for each projects. Store in the Logbook Homework section of the logbook.

This is a checklist of sorts, with specific things to do each time you are assigned a new project to develop. We have two remaining. This listing of actions will also help you fill the pages of your logbook in such a way that you can receive credit and improve your overall logbook grade. Please consult it often and complete tasks listed thoroughly as your professor expects you to apply strategies and other information you have learned in the individual maker portion to whatever you make from this point forward.

Link to Handout if you need it:
https://drive.google.com/open?id=1uoHCwNsfcITLs2ah1utL4KYSH53-bwP0

c19_a2
Intro to Last Two Projects - Read Over & Write Questions
Due: Thursday, April 5th
Format: Read about the next two projects. Create a list of questions for each project. Type up questions using two headings: Modular Form & Installation. List specific questions under the appropriate heading. Be sure you have the appropriate heading in the upper left-hand corner of this work. Print your document out and bring it to class. Store this work in the Logbook Homework section of your binder.

Modular Form Project: Introduction

Summary of Entire Project
The modular form project has three main components. Each component should represent a part of the argument, comment, or question you are presenting to your audience in regard to your topic and direction. When thoughtfully and patiently developed and composed this combination of elements will combine into more than the sum of the parts.

1. Many identical ready-made objects (which you will use as the basic material for sculpting the next part).
2. A 3-dimensional form or representational object (sculpted, formed, or skinned out of the objects above in item 1).
3. A context or setting for the large object (item 2) made of small ready-mades (item 1).

The first phase of this project involves numbers one and two. The second phase of the project will be about number 3. As you work on phase one, understand that you will eventually integrate number 3 in the second phase of the project.

Overview
The modular form project is a platform for developing an appreciation for the role that material choice plays in constructing artistic content. Furthermore, it explores creating a whole image out of a large number of identical parts much like small pixels are used to create a larger image. Lastly, it investigates creating content within a whole image through choice of ready-made objects and their arrangement so that visually, the parts are transformed or even partially lost through repetition.

• For now, investigate possible object choices for this project. Later you will find or purchase the objects that potentially reference some important aspect of your current thematic direction. Remember, the objects you use must be identical, not variations of one or more similar 3D forms. Further, you cannot make these objects; they must be pre-made or manufactured all alike. (Two exceptions: First, a set of identical forms of varying color, like colored thumb tacks, second, a set of groups of similar objects, like a bag of 100 army men that feature soldiers in different poses). If you have questions about readymades you would like to use, be sure to ask your professor first!
• Think of possible forms that could act as armatures or substrates and also of adhesives to aid in your construction, as you will need structure to give the object you make strength and shape. Hot glue, rubber cement, and super glue have often been useful to students doing this project.
• Eventually, you will also consider the environment as context and will be allowed to compose the 3D form you make within or in front of real or fabricated environments or backgrounds. The final work will be 2D.
• Some terms to research: multiple, repetition, pattern, skin, structure, armature, aggregate, module, individual, collective, form.

Installation Project Phase One - Model
Project Brief: 
 For this assignment, we want you to investigate your ideas in a format that utilizes the space surrounding forms and other compositional elements you create. Installation is a three-dimensional format that considers an object or composition of objects in relationship to the space that surrounds or permeates them. Installation is more than just discreet form(s) in space; it is the object and the environment all at once. Spatial context is key to the development of any installation work. We have already talked about how your choice of materials and symbols create a context for your artwork. Now we want you to consider how location, environment, and audience interaction create and affect context in your work.

At its core, installation art is a perfect marriage of object(s) and the area surrounding them. For this project, choices concerning space, environment, location, and audience engagement will be integral to building conceptual and formal strength. Start your process by brainstorming potentially successful locations or spatial contexts then consider what you might make or place in specific locations.

Try to insert content into every part of the work so that you end up with a multitude of layers. Begin layering by making compositional choices one at a time in a considered and methodical manner. These carefully made choices all should refer back to your concept and direction.

In your attempt to reference your ideas, consider the following elements:
Location, Material, Technique, Color, Texture, Light, Proximity, Repetition, Gravity, Balance, Scale, Proportion, Contrast, Mass, Volume, Space, Boundaries, Connections, Transitions, Tempo, Chronology.

Each time you make a considered choice that refers back to your concept in some way you create a layer of content and meaning. The more layers you create the richer your artwork will be. Take this opportunity to harness all of your research and experience from this semester to create a powerful, communicative installation. This project does not have to have aspects of the last project. However, you may use your former idea and directions as well as intention to create your composition.

Goals:

• Investigate installation as a mode for communicating the ideas you have been developing all semester. 
• Create content, meaning, and potency through a process of layering references 
• Pick a real or imagined location or space that will become part of your installation. If you plan to eventually create your installation in real space at full scale, it will have to be installed on campus or in three minutes walking distance on the grounds of campus. 
• Create an installation or refined 3D model of the installation you are proposing. 
• If your space is at school, scale your model to represent that space as closely as possible. [Taking pictures of the area surrounding the space is recommended for creating a comprehensible model].
• Full-scale installations require getting permission to use the space from administrators and/or faculty of the school. There will be forms for you to fill out once we pass through the model stage. [Note – nothing can be installed full-scale without the explicit permission of your IPC professors. Once permission is granted, the student MAY NOT deviate from the parameters outlined in their contract without informing and obtaining permission for said change/s/ from the student’s IPC instructors. Installing full-scale without permission and deviating from the parameters of the associated contract will FAIL you for the project. Willful disregard in relation to the above-mention stipulations will FAIL YOU FOR THE COURSE. Please do not proceed with or change a full-scale installation without permission].

Requirements to consider for Real Space Installations:

• All work must be located on or adjacent to the college campus and its immediate grounds [Note - 3 minute walking distance max. Time it if you are unsure]. 
• All work must be set up by and cleaned up on the day of your critique within 30 minutes of the end of class. Students may begin the evening before critique after classes have finished, so long as their installation doesn’t impede normal college function (remember our students need wheelchair access). 
• All work must allow for the regular functioning of the school. In other words, whatever space you use must be usable to all members of the MCA community. Please ask your instructors if you have any questions.
• Absolutely no work can be installed without explicit written permission or changed from your original proposal from your professors. 

In addition, please review the following limitations:

• No hanging from ceilings anywhere. 
• The upper gallery, lower gallery, no exit gallery, and sleaze and slime gallery areas are off limits. 
• No artwork should impede the normal functioning of the college and its community. 
• No artwork should jeopardize the safety or reputation of the college or the community including the student body, staff, faculty, and administration. 
• You may not permanently damage school or public property in any way. Failure to do so could result in hefty monetary fines and failure of the project. 
• No paint or adhesives on walls or floors. Ask professors about acceptable tapes to use.
• No nails piercing walls or floors; walls may be an exception, but each student must formally ask permission. 
• No tape on windows especially in Studio 1, 2, and 3. 
• You must leave the space you use as clean or cleaner than you found it. Failure to clean up after you de-install your project will result in failure of the project.
• No hanging of body forms from any structure anywhere on the school grounds
• No use of bio-hazardous materials

WARNING!
Students who ignore the listed stipulations and/or fail to return school spaces to their original condition within the times allotted will fail [F] the Installation Project. In some cases [willful disregard in relation to asking permission and changing the parameters of said project] ignoring the stipulations of installation will fail you for the entire course.

Note to students planning to eventually install their work outdoors in real space:

Be aware that outdoor projects must be installed despite weather conditions. Therefore, anticipate possible weather issues so the integrity of your installation remains intact regardless of rain, cold, heat, wind, etc. What materials might be appropriate that can withstand environmental adversity?

Class 18_Homework_March 29th

Dear Students
This weekend you will be making work for the Materials that Matter assignment. Please note the following items: 
-As much a possible, use actual materials and objects to make your work. If you can't find, buy or otherwise use an actual material, object, or image, send me a text and I can advise you about finding said material/object/image. For instance, if diamonds are something you wanted to use for a composition about value, it would be nearly impossible to buy real ones in a quantity that would be affordable. Instead, you could buy rhinestones from a hobby store.
-If worse comes to worst and you need a 2D representation of an item, please be sure to scale said item to the appropriate size and to print in color for use in your work. For instance, if diamonds are something you wanted to use for a composition about value, it would be nearly impossible to buy real ones in a quantity that would be affordable. Instead, you could find imagery of diamonds on the internet, use the computer to scale them and gather enough of them for compositional purposes and then print them out in color so that you may cut them out to use in your art piece.
-Don't forget what you have learned about context and its importance. Context is always part of your visual vocabulary and many times it can be the difference between vague and clear visual communication.
-When constructing experimental compositions, be sure to consider audience. Try to anticipate the associations and connections others may make with the imagery you choose to express your content. 
-Materials always matter 
-We need to test our ideas and our imagery as we develop and committ to visual vocabulary that will deliver our content. 
-Think of what we are doing as a kind of test. Part of this test requires us to express what we mean in writing. The other part requires us to express what we mean visually. The way these two components are interpreted ALWAYS matters.
-The artwork you are making should be inspired by or in response to the guiding principle/topic/direction you have written. 
-Your writing should be based and inspired in part by the research you have collected thus far. It should also contain opinions and insights that are unique to you.
-Remember that one of the most important things an artist does is they make the familiar unfamiliar. Ultimately, your message and your imagery must be compelling. 
-Your compositions should be of high quaility. This means your photographs should look as if every part has been carefully orchestrated and planned. Do not let unsilghtly background parts or any other messy or unintentional details become part of your composition! If your background context image isn't big enough, make it bigger. If there is no ground under your items and you can see cardboard or other unplanned surfaces, change or cover said ground.
-Each composition should be different. In other words, try to express your guiding principle in [5] different ways NOT [5] different views of the same composition!



c18_a1
Materials that Matter - [5] Statements of Written Intention 
due: Tuesday, April 3rd
Format: [5] Printed and brought to class to present with your Materials that Matter work. 

Paragraph One-Look at the notes for your most recent writing on Google Drive [I am finishing these as fast as I can!]. Transform any recent advice and commentary into a guiding principle to present with your [5] Materials that Matter compositions. This writing will become the first parpagraph of your writing. The guiding principle for each composition will be the same.
Paragraph Two
-Since you have used different components and configurations for each composition, the second part or paragraph of this writing will briefly describe how your components and said configurations deliver your content. PLEASE do not be confused and simply describe what the composition looks like. Instead, any mention of compositional imagery should be used as an opportunity to talk about said imagery's conceptual significance. Here is an example of the difference:

My photograph has a horse in it. The horse is surrounded by feathers.The horse is barely lit and this creates an interesting effect.... 


Versus

I use horse imagery to convey the untameable nature of intamacy. In graphology, horse doodles may reveal a person's unrealistic expectations in love. I  am intentionally using the horse as a symbol that harnesses that notion. Maribou feathers are evocative of desire and have an alluring quality. I am pairing the horse and feathers to create an atmosphere of romance and mystery. The horse is literally emersed in a field of feathers. This is a visual manefestation of a personal belief: The persuit of love is elusive and dreamlike. 

Please contact me if you do not recognize the difference.