Posts Tagged ‘art’

Not Master’s Enough – Review of GS 602: Art & Ideology

May 10th, 2011

AAU does student evaluations but I don’t know if they do anything with them.  I and a number of other students bitterly complained about a instructor in a course and I see that horrible instructor is teaching that subject again.  I don’t know…  (it is NOT this class)

I’m finishing up a painfully easy and expensive class titled “The Art & Ideology of the 20th Century”

Here is an excerpt from my evaluation of this course:

This is a Master’s level class.  Instead of reading a couple modules about some philosopher we should be deeply engaged in reading about him.  (Where are the female philosophers).
If this was a real Master’s class there would be a couple hundred pages of reading each week followed by critical analytical writing and individual reviews by the instructor and by peers.

Where are the Americans? Asians? Hispanics?  Everything we study is grumpy old European, Eastern European and Russian guys.

You get the idea.

I’m here to learn and you failed to teach.

Spring 2011 Lineup

March 23rd, 2011



Distractions this Spring are like a furry kangaroo in a SXSW crowd.



I’m behind in posts.  I have two excuses.  I’ve been moving in February and SXSW.

The 25th year of SXSW may have jumped the shark as SXSW is now a “Spring Break Destination”.

SXSW is over, even if I’m still recovering from working the festival.

I’ve got two courses this term. GS 602: The Art & Ideology of the 20th Century with Roxanne Farrar

She’s got a very solid bio:

Dr. Roxanne Farrar is an Associate Professor of Art History and Interdisciplinary Studies at Georgia College & State University, where she has been teaching since 1998. Art History courses that she teaches include “Public Art,” “Asian Art History” (Chinese and Indian), “Comparative Aesthetics,” and “Art Criticism.” IDST “core” courses that she teaches are “America’s Diverse Cultural Heritage” and “Fine & Applied Arts in Civilizations.”

Before joining the faculty of GC&SU, she taught diverse courses in Art History and in Interdisciplinary Humanities at a variety of colleges and universities in San Francisco, California and in the greater San Francisco Bay Area (1991-97). In the 1997/98 academic year, she taught Art History and Art Education, and served as Art Gallery Director at a private Liberal Arts college in Kansas. She also taught adult EFL (“English as a Foreign Language”) courses at a private language institute in Florence, Italy (1987).

Dr. Farrar received her doctoral degree (Ph.D.) in Interdisciplinary Humanities from Florida State University (1992), an Interdepartmental Certificate in Critical Theory (FSU, 1992), and an M.A. in Humanities (FSU, 1990). She completed her B.A. in Art History while studying at FSU’s “Florence Study Center” in Florence, Italy (1986).

In addition to the three years that she lived in Florence, Italy (1985-87), Dr. Farrar has traveled in China (one month of intensive “solo” traveling in Spring 2000) and in India (one month of intensive study on a Georgia University System “Faculty Development Seminar” in Summer 2001). In June 2003, she participated in a month-long National Faculty Development Seminar on “Incorporating Japanese Studies Into the Undergraduate Curriculum” at San Diego State University (California).

She is the author of a book on existentialist aesthetics, Sartrean Dialectics: A Method for Critical Discourse on Aesthetic Experience (Amsterdam: Rodopi Press, Value Inquiry Book Series, 2000). In this book, she develops Jean-Paul Sartre’s dialectical method of critical inquiry as a tool for aesthetic discourse. She also has written and published articles on a variety of topics including phenomenological teaching, postmodern aesthetic strategies & transgender issues, and television politics in 1950′s American art & popular culture. Her professional conference presentations include topics in African art, postmodern aesthetic strategies & transgender issues, and pedagogical strategies for teaching Indian Art History to undergraduate Studio Art majors.

Dr. Farrar has participated in the organization and/or catalogue writing for several art exhibitions including “Letterism: The Conjunction of Writing and Art” (GC&SU Blackbridge Hall Gallery, 2001), “Congo: The Art of Taller Portobelo” (GC&SU Blackbridge Hall Gallery, 2002), and “Shamanic Visions: Recent Works by David Seaman” (Swainsboro, Georgia, 2003).

Her current research focus is on Asian aesthetics and art history to expand GC&SU’s Asian Art History curriculum. She also is a dilettante artist who delights in “cultural piracy.”


The other course is PH 655: Digital Montage and istaugh by Shannon Ayres.

His bio posted at AAU is rather humble:

Shannon Ayres is a photographer and teacher based in the Washington, D.C. region. He works in the lyrical documentary tradition of Eugene Atget and Walker Evans.

His landscape work explores the dichotomy between the historical and contemporary meanings of place. He is currently working on two projects -a series of street photography at the Lincoln Memorial in Washington, DC and a longer multi-year series about vernacular culture and the Civil War.

Here at AAU, Shannon is the course author for PH612 The Nature of Photography, PH613: Color and Light, GS625 The History of Photography, PH655 Digital Montage and PH801 Graduate Thesis Seminar.

He also teaches classes and workshops at the Smithsonian.

This class was added after I dropped the special topics class.  This was a good decision.

This post is being written during Spring break so I’m about half way done with both of these classes.  I’ll post some midpoint thoughts on these classes this week.

Overall, I’m a bit distracted this semester.  Between moving in with my gal, setting up a new office, ongoing buildout of a new studio,  attempting to finish and then postponing my Midpoint Review and losing a part-time job (that pays for school) I’ve not been very motivated so far this term.



I Think I’ll Teach a Class

February 5th, 2011

[UPDATE: I did drop this class]

I’m a little P.O.ed about a class I’m taking. BUT, I think there is a lot to take away from this course if I ever want to teach.

I can simply cut-and-paste what the instructor has to say!  Wow.  I’m paying $2500 so I can copy the work of an instructor and use it in a future class I teach?

Nope.  I can’t do that.

So here are the posts from the instructor from a discussion forum during the first week of class.

———————————————
I briefly talked about the most important factor in our creative lives – our VISION; that is the center of all our work. To market our creative “fine-art” work, we will need to adapt certain market or commercial rules. That’s part of the work! We need to publish and reach people. In the recent past we have seen impressive campaigns, which had an impact because the style and content resulted from a very individual approach. Something we would call fine-art. But it got published as an advertisement or commercial campaign. It was something innovative and drew a lot of attention.

As professional photographers we will have to make a living from our photography. It is certainly up to us and our (moral) ethnics to draw the line between commercial and fine art context. My personal opinion, however, is that I accept the commercial work as part of our culture. We create images because we want to tell stories, for instance. We can incorporate our style, our creative identity into each assigned work! Commercial applications like advertisement reach many people. In my opinion advertisement is part of our (contemporary) culture and it would be a decisive decision to ignore or reject this platform. Art and Pop Art grew together? This however is my personal opinion and I am curious on your point of view.

Again, thank you all for your participation and I want to see enthusiasm and passion throughout the semester!
——————————————–

We have such an incredible variety of different photographers with different backgrounds, styles and locations. This is always my favorite part in the online program because we learn so much from each other.

Coming from different parts of the world, from a different background and having an  entirely different “story” of why and how we pursue our passion, we have one thing in common.

We chose the same medium to express what we want to express, to communicate what we want to communicate and to share with others what we see.

Lets share what drives us, what motivates and inspired us to pursue our passion.

You will learn a lot about your fellow photographers, as you will about yourself.

It’s a journey.
———————————————-

One of my most favorite descriptions of what I appreciate the most about photography is, that “we have the ability to see the world through the eyes of the other, while we allow the other, to see the world through our eyes.”

Enjoy the semester!

_______________________

I look forward to working with you this semester. We will explore the “Why”, the “”How” and the “What” in the creative process.

_______________________

In the following modules, we will learn about different artists, concepts or movements. It is very important to learn about different perceptions but it is really just theory without finding a connection to your personal work.

You might be drawn more to some of the chapters, less to others, all depending if you are inspired by the thoughts. This class is an excellent  platform to learn about other artist’s perception, to “see the world through their eyes”. This happens though the theoretical background and readings in the following modules.

The most beneficial part however, is when you make the link to your own work, when you find the link to your own work. I would describe the objective and approach of this class, to define and verbalize our vision.

In other words, to understand more what we are doing and why.

[which is then immediately followed by another post (are the gods at AAU watching for instructor posts numbers?]

We will explore other artist’s ideas. We will not only look at their work, the finished piece we can see in galleries and museums, but we will discuss their process, the context and what made them think in a very unique way.

Our goal however is to understand our own process, our creative center, the vision which ties together our creative work.

——————————————-

[I'm also taken by the gross generalizations here]

I am impressed with what I have seen from you so far and I am excited to hear more and to see your work progressing throughout the semester.

I’ve learned that some of you are working on or just passed their midpoint reviews, please feel free to share your work or the conceptual stage you are in. This might help since we will incorporate this background knowledge in the critiques and gain important context for reviewing your work generally.

Please also feel free to ask or mention everything what is important to you. As artists, many of us are constantly reflecting and questioning ourselves. This class is a perfect setting of discussing and addressing those questions in a group. Later on in the professional world outside the academic context, you will find it very hard to find a community to share these thoughts, so let’s use this opportunity. It is important to exchange the experiences; as an artist, it can be a lot of questions himself. Communicating is everything here and in dealing with important issues, we will avoid a “writer’s block”.

So be courageous, speak out what you are dealing with? (Your problems/obstacles) and this is the only way we can work on it. Don’t be afraid, you can’t make a mistake here and you can’t fail, but gain!

[which is immediately followed by this post with more generalizations]

Very interesting statements so far!

I think as photographers we all feel that we have to compromise between projects we love – and work we need to shoot in order to make a living.

I want that you all believe in your concepts and yourselves and that you create a constant curiosity about your work and an endless will to explore.

In my experience, the most important thing is to get to know your own work as well as yourself rather than following a trend or a certain lifestyle. You are creating your own way.

I wouldn’t see commercial assignments or jobs outside your fine-art projects as a drag; make them part of it and incorporate your vision into that work. We will talk more about our vision later on and this will be one of the key criteria when we look at photographs within the semester.

It’s interesting to hear about the projects you are working on. Many of you are getting ready for the midpoint review or just passed it. This is an important moment in your academic career and I am very glad I can work with you at this stage.

[Then followed by this one (do I need to point out the generalizations here?) ]

I briefly talked about the most important factor in our creative lives – our VISION; that is the center of all our work. To market our creative “fine-art” work, we will need to adapt certain market or commercial rules. That’s part of the work! We need to publish and reach people. In the recent past we have seen impressive campaigns, which had an impact because the style and content resulted from a very individual approach. Something we would call fine-art. But it got published as an advertisement or commercial campaign. It was something innovative and drew a lot of attention.

As professional photographers we will have to make a living from our photography. It is certainly up to us and our (moral) ethnics to draw the line between commercial and fine art context. My personal opinion, however, is that I accept the commercial work as part of our culture. We create images because we want to tell stories, for instance. We can incorporate our style, our creative identity into each assigned work! Commercial applications like advertisement reach many people. In my opinion advertisement is part of our (contemporary) culture and it would be a decisive decision to ignore or reject this platform. Art and Pop Art grew together? This however is my personal opinion and I am curious on your point of view.

Again, thank you all for your participation and I want to see enthusiasm and passion throughout the semester!

———————————————-

I want to thank this unnamed instructor for such wildly useful comments that I could simply copy and paste them to the THIRD PAGE of an ONLINE discussion with other students in an attempt to make myself seem readily available and actually seriously interested in whatever the heck the student said.

Huh?  What did you say?




GS 606: Crossing Borders: Art & Culture in a Global Society

February 2nd, 2011

Intersession classes are a blur.



This is both a discussion of the course and a review.

I took this course during the Winter 2011 Intersession.

Intersessions are a traditional 15 weeks of course taught over a period of 15 business days.  You get a couple weekends so you actually have 19 days to do the work.

capitalism :  An economic system based on the private ownership of the means of production and distribution of goods, characterized by a free, competitive market and motivation by profit.  colonialism :  A consequence of imperialism; the implanting of settlements on distant territories.  culture :  The behaviors, relationships, arts, beliefs, institutions, and all other products of human thought and work that are a result and expression of a particular group, community, or population.  feudalism :  The legal and social system that existed in medieval Europe, in which vassals held land from lords in exchange for military service and protection.  hegemony :  Control or dominating influence by one person or group, especially by one political group over society or one nation over others.  imperialism :  Primarily describes empire-building, although this term has often been used to refer specifically to the practice of territorial acquisition; that is to say, the theory and the attitudes of a dominating metropolitan center ruling a distant territory.  Industrial Revolution :  From the eighteenth to the nineteenth centuries in Western Europe and North America, a period marked by the increased use of machinery in various industries, which caused fundamental social changes.  Japonisme :  The influence on Western art of Japanese artistic and decorative themes.  lingua franca :  A language that allows people with different native languages to communicate.  nation-state :  A politically independent country or empire, especially one in which the citizens share the same language, culture, and nationality.  Modernism :  The revolutionary ideas and styles in art, architecture, and literature that developed in the late nineteenth century as a reaction to traditional forms.  modernity :  The social and cultural conditions following the Middle Ages, which are characterized by the rise of industrialism, capitalism, secularization, and the nation-state.  Realism – An artistic movement starting in the late nineteenth century that was driven by a practical understanding and acceptance of the actual nature of the world rather than an idealized or romantic view of it.  Renaissance :  Starting in the early fifteenth century in Florence, Italy, a period of profound social and cultural change characterized by the rebirth of ideas, philosophies, and art of ancient Greece and Rome including humanism and Neoplatonism.  vernacular language :  The native, everyday language of a particular locale.  archaeology :  A research method formulated by Michel Foucault which unearths the history of ideas.  canon :  A general rule, fundamental principle, or standard. Canonical history is the version of history that is most widely understood to be true.  deconstruction :  Jacques Derrida’s method of analyzing texts that exposes inherent contradictions and fallacies embedded within the language.  différence :  A term coined by Jacques Derrida that refers to the indeterminacy of language.  discourse :  Particular type of language or ideas used in a given context.  Enlightenment :  A European intellectual movement of the seventeenth and eighteenth centuries in which ideas concerning God, reason, nature, and man were synthesized into a worldview that gained wide assent and instigated revolutionary developments in art, philosophy, and politics. Central to Enlightenment thought were the use and the celebration of reason — the power by which man understands the universe and improves his own condition. The goals of rational man were considered to be knowledge, freedom, and happiness.  epistemology :  The study of the nature, origin, and limits of human knowledge. The term is derived from the Greek episteme (“knowledge”) and logos (“reason”); accordingly, the field is sometimes referred to as the theory of knowledge. Epistemology has a long history, beginning with the ancient Greeks and continuing to the present. Along with metaphysics, logic, and ethics, it is one of the four main branches of philosophy, and nearly every great philosopher has contributed to it.  humanism :  A belief system based on the values, characteristics, and behavior that represent the best in human beings, rather than on any supernatural authority.  metaphysics of presence :  A term developed by Jacques Derrida. It characterizes Western philosophy’s traditional reliance on that which is known (or “present”) rather than considering unknown factors as well.  post-structuralism :  A general term referring to the various theories from the 1950s through the 1970s that rejected the principles of structuralism. These include deconstruction, feminism, and postmodernism, which all challenged the assumptions of structuralist thought.  semiotics :  The study of signs. The most influential contributor to this field was the Swiss scholar Ferdinand de Saussure (1857–1913), whose ideas about language and signs formed the basis of structuralism.  sign :  A symbol representing a thing or idea. It is comprised of a signifier (the mark on the paper) and a signified (the thing or idea represented).  structuralism :  In linguistics, any one of several twentieth-century schools committed to the principle that a language is a self-contained, relational structure, the elements of which derive their existence and their value from their distribution and oppositions in texts or discourse. This principle was first stated clearly by Ferdinand de Saussure. Saussurean structuralism was further developed in somewhat different directions by various other movements.  appropriation :  The taking of something that belongs to or is associated with somebody else, especially without permission.  commodification :  The transformation of a good or service into a commodity: something that can be bought or sold.  hyperreality :  According to Jean Baudrillard, a postmodern condition in which reality and simulations are experienced without difference.  installation art :  Art created for a specific site, often incorporating materials or physical features of the site.  Modernism :  The revolutionary ideas and styles in art, architecture, and literature that developed in the late nineteenth century as a reaction to traditional forms.  pastiche :  Art that openly imitates previous works of art, often with satirical intent.  Pop Art :  An art movement that began in the 1960s in response to Abstract Expressionism. It is characterized by the conflation of high and low forms of visual culture and the uses of icons.  postmodernity :  The condition in which we currently live, marked by the fusion of high and low art and consciousness of the media and consumerism.  Realism :  The artistic movement, which began in France in the 1850s, supporting truth and accuracy in art.  referent :  A person or thing to which an expression refers.  sign :  An act or gesture used to convey an idea, a desire, information, or a command.  simulation :  A representation of an original.  trope :  An expression used in a figurative sense.   alterity :  Philosophical term for the concept of “otherness.”  cannibalism :  Literally, the consumption of human flesh by humans. Also, a specific form of resistance to the dominating culture in which the participants “devour” the dominating culture and transform it through that process into something original and of their own making.  colonialism :  Specific form of expansion that occurred over the last 400 years.  hybridity :  The creation of new, transcultural forms in locations affected by colonialism.  identity politics :  A wide range of political activity and theorizing based on the shared experiences of injustice of members of certain social groups. Those engaged in identity politics typically seek the political freedom of a specific constituency marginalized within its larger context. Members of that constituency assert or reclaim ways of understanding their distinctiveness that challenge dominant oppressive characterizations, with the goal of greater self-determination.  imperialism :  Primarily describes empire-building, although this term has often been used to refer specifically to the practice of territorial acquisition; that is to say, the theory and the attitudes of a dominating metropolitan center ruling a distant territory.  Manifest Destiny :  A term used by American leaders in the mid-nineteenth century to describe the expansion of the United States across the North American continent.  multiculturalism :  Belief that society should be comprised of a diversity of cultures and ethnic groups that each maintain an identity.  Orientalism :  First introduced in Edward W. Said’s text of the same name, it refers to the imaginary construction of the Middle and Far East by Westerners.  postcolonial studies :  Study of the interactions between European nations and the societies they colonized in the Modern period.  subaltern :  Literally, “inferior.” In relation to the Subaltern Studies Group, the term refers to non-elite natives of colonized territories.  brain drain :  The loss of a country’s highly trained and skilled human resources through migration.  Fair Trade :  A social movement designed to help producers in developing countries promote self-sufficiency. The movement advocates paying producers higher prices in exchange for adherence to certain social and environmental standards. It focuses on certain exports from developing to developed countries, most notably handicrafts, coffee, sugar, tea, bananas, honey, cotton, wine, fresh fruit, chocolate, and flowers.  finanscapes :  Global flows of capital.  gross domestic product :  The value of a country’s overall output of goods and services, during one fiscal year, at market prices. This excludes income from abroad.  gross national product :  A country’s gross domestic product, along with remittances from nationals working abroad and income from foreign subsidiaries of local firms.  human capital :  The knowledge and skills that people possess, which can be used to perform work and earn money and thus have economic value.  major market index :  A stock market index comprised of several major stocks, which is used to measure market activity.  outsourcing :  Contracting, subcontracting, or otherwise externalizing non-essential activities to free up cash, personnel, time, and facilities where the firm holds competitive advantage. A garment manufacturer may contract out data processing or accounting, for example, in order to focus on the task of making garments and reduce the average cost of its products.  remittance :  Money sent to a person in another place.  supply chain :  The network of retailers, distributors, transporters, storage facilities, and suppliers that participate in the production, sale, and delivery of a particular product.  street art :  Art in public spaces that is not officially authorized and which is often subversive and/or has an activist component.  sweatshop :  A business establishment that makes its employees work under harsh and often hazardous conditions and pays only minimal or survival wages.  tariff :  Duties or taxes charged for goods as they enter a country.  volatility :  The relative rate at which the price of a security moves up and down.  American dream :  The idea that individuals can achieve prosperity from any social position through adherence to democratic ideals. It has also been used to refer specifically to home ownership.  Cold War :  Refers to the relationship between the U.S. and the Soviet Union from approximately 1945 to the collapse of the Soviet Union in 1991. As opposed to a “hot” war, which featured physical fighting, this “cold” war was a battle of ideologies, between communism and capitalism. Physical battles did occur among client states including Vietnam and Afghanistan.  democracy :  A system of government in which the supreme power lies with the people and is exercised directly by them or on their behalf by their elected representatives.  diaspora :  Used traditionally to refer to the dispersion of a particular human culture around the globe. Appadurai uses it to refer to the dispersion of ideas born within a particular culture.  divine right of kings :  The notion that kings were designated by God and received instructions directly from Him. It was a policy that gave kings absolute authority over all matters both sacred and secular.  Enlightenment :  A European intellectual movement of the seventeenth and eighteenth centuries in which ideas concerning God, reason, nature, and man were synthesized into a worldview that gained wide assent and that instigated revolutionary developments in art, philosophy, and politics. Central to Enlightenment thought were the use and the celebration of reason, the power by which man understands the universe and improves his own condition. The goals of rational man were considered to be knowledge, freedom, and happiness.  hegemony :  The dominating influence of one nation, group, or individual over others.  humanism :  A belief system based on the values, characteristics and behavior that represent the best in human beings rather than on any supernatural authority.  ideoscape :  Global movement of ideas, especially political ideas.  natural rights :  A concept, popularized by John Locke, that all human beings are entitled to certain liberties and the pursuit of happiness.  synopticon :  An overview.

That reads like Intersession feels.

It was a very solid class.  I had Teddy Goldsworthy-Hanner as an instructor.  She is a successful practicing artist  and has been teaching at AAU for over 12 years.  If you’ve been reading some of this blog you know I lean hard on teachers as the source of good classes.  If you don’t interact with them then you don’t get the benefit of their experience.  Teddy has a ton of experience, is very engaging and I was so impressed with her work and her ability to communicate concepts that I would consider her for directed study – even though she is in a different discipline.

Every day we do a module and assignments.  It goes by quickly.  I copied all the material as reference for future use.  I can see myself going back and rereading these modules and some of the supplemental readings.  This was my first non-photographic GS class and it is a bit different.  There are students from other areas of art, most students were on-native English speakers and most were either in fashion design or one of the digital media arts.  I was the only photographer.

After taking an Intersession course I find my regular semester GS course this Spring term to be pretty slow.  IT has ghien me a new appreciation for what I can accomplish in a short period of time if I really apply myself.

If you take an Intersession course I think you will feel the same way.

REVIEW: PH 613: Color Theory for Photographers

June 15th, 2010
One of my final images in Color.

One of my final images in Color.

This course is required as part of the MFA-Photography degree …at least it was this semester!

I have heard from a program director that this course is undergoing revision so I can only discuss my experience in the Spring ’10 section I took with professor Marc Ullom.

I learned a LOT in this class. I have never had any formal training in color and color theory and I now know why someone with red hair looks good in green from a technical perspective. I also found that I was creating images that I would have never attempted if I wasn’t studying color. I didn’t find this class hard, rather I seemed to be in a discovery mode in this class and every week was another mini-adventure in color and photography.   There are some difficult aspects.  If you had PH612: the Nature of Photography then you touched on plasticity.  In this course you will get some more face time with this difficult concept.  The modules in this class spend a lot of time discussing the exceptional work done by Johannes Itten on color theory.  After a few weeks into the semester I decided that instead of reading about what Itten wrote about I should be reading what Itten wrote and I bought Itten’s famous book “The Art of Color” so I could actually read directly from the master.

I was not disappointed.  If this is not yet a required book in future semesters you should get a copy of this book to supplement your reading.  It is a splendid book and a wonder to read, review, and reread.  It should be in every artists’ collection.  Sure, it is expensive but it is a fraction of the cost of tuition and you will likely find yourself going back and reading parts of this book over many years to come.

The other thing I found useful was a color wheel.  These are pretty cheap and found at most art stores and online.

I also found that using some online color wheels to be very useful in determining if images would well-fit with the weekly assignment.

http://colorschemedesigner.com/

http://ficml.org/jemimap/style/color/wheel.html

Marc Ullom is a great professor.  I had him last semester for PH 601: Photography-Concept and really enjoyed the feedback and encouragement I saw him give to me and other students.   He seemed even more attentive this semester and I greatly enjoyed his encouragement to play and experiment.  I worked to create some very abstract images for this class.  This was intended to push myself to do something completely new and it forced my attention on color and the relationships of color without having to bother with neither literal subjects nor narrative.  This was so interesting that I’m considering continuing with this for my thesis.