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Monday, August 30, 2010

Reading for Friday's lecture

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

Hand tools and power tools

Hunter slicing and dicing.
the sliced and diced.
Courtney powers up.
Let's keep all our fingers please.

Coloring between the lines

Edith rendering and, yes for this project, seriously coloring inside the lines

Liz evaluating her thumbnails based on several gestalt principles

Brian prepping the page for thumbnails roughs

Sunday, August 29, 2010

New York Trip

2010 Fall Semester New York Trip:
First Meeting August 30th at 5pm
in Art Building C (Sculpture) Room 101

Tuesday, August 24, 2010

Reading assignments week of August 27 (with Kathryn)

  1. Intro Gestalt
  2. Formal Matters pages 3-24 focus; skim remainder. Don't panic if this essay seems Greek to you. Just give it a once over and move on
  3. Principles (intro)
  4. More on Form/Composition
  5. Artist Interview: Piet Mondrian< the actual interview is the part to focus on/li>
Read and post reading summary (focus on key concepts and terminology)  prior to Friday, Sept 3 (quiz over readings)

Monday, August 23, 2010

Reading #1:
Sol Lewitt
Artist’s statement (1970–71)

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

NY Times article

Sunday, August 22, 2010

Welcome to WASH

2220 Avenue M.

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 Opening celebration!