I've posted the reading that accompany this Friday's lecture.
Download it or read it online by Friday, September 10, when there will be a short quiz.
It's a little early, but I figured I'd post it sooner rather than later. Bill's reading assignment #1
The draftsman and the wall enter a dialogue. The draftsman becomes bored but later through this meaningless activity finds peace or misery. The lines on the wall are the residue of this process. Each line is as important as each other line. All of the lines have become one thing. The viewer of the lines can only see lines on a wall. They are meaningless. That is art.
—Pasadena Art Museum Catalogue, 1970
The artist conceives and plans the wall drawing. It is realized by draftsmen. (The artist can act as his own draftsman.) The plan, written, spoken or a drawing, is interpreted by the draftsman. There are decisions which the draftsman makes, within the plan, as part of the plan. Each individual, being unique, given the same instructions would carry them out differently. He would understand them differently.
The artist must allow various interpretations of his plan. The draftsman perceives the artist’s plan, then reorders it to his own experience and understanding. The draftsman’s contributions are unforeseen by the artist, even if he, the artist, is the draftsman. Even if the same draftsman followed the same plan twice, there would be two different works of art. No one can do the same thing twice.
The artist and the draftsman become collaborators in making the art.
Each person draws a line differently and each person understands words differently.
Neither lines nor words are ideas. They are the means by which ideas are conveyed.
The wall drawing is the artist’s art, as long as the plan is not violated. If it is, then the draftsman becomes the artist and the drawing would be his work of art, but that art is a parody of the original concept.
The draftsman may make errors in following the plan without compromising the plan. All wall drawings contain errors. They are part of the work.
The plan exists as an idea but needs to be put into its optimum form. Ideas of wall drawings alone are contradictions of the idea of wall drawings.
The explicit plans should accompany the finished wall drawing. They are of importance.
—Art Now, vol. 3, no. 2, 1971
The sparkling new WASH Building, 2220 Ave. M, across from Holleman Field. We'll be welcoming our new fall WASH students promptly at 9 am this Wednesday, August 25. Thursday night, August 26, 5-7 pm, we hope you all will come out and join us for the Grand Openingcelebration!
2D :: This studio course introduces the studio arts, art history, theory and technology to the incoming student. It is designed to immerse students in an intense program of researching, interpreting and creating art in the twenty-first century. ART 130 emphasizes the 2-Dimensional Arts. Its companion courses, ART 131 and ART 132W, support this studio course with lectures, readings, visiting artists and demonstrations.
3D :: This studio course introduces the studio arts, art history, theory and technology to the incoming student. It is designed to immerse students in an intense program of researching, interpreting and creating art in the twenty-first century. ART 131 emphasizes the 3-Dimensional Arts.
Lecture :: This course introduces the concepts, theories and information for development in ART 130 and ART131, the studio components linked with this visual arts foundation course. It is an arena for students to experience lectures, demonstrations, seminar activities and visiting speakers, as well as the more traditional aspects of the discipline. It is geared towards contemporary visual concerns and uses experimental techniques to expose students to an array of styles and methodologies.
