Sunday, December 4, 2011

Brian Eno's Oblique Strategies


Abandon desire
Abandon normal instructions
Accept advice
Adding on
A line has two sides
Always the first steps
Ask people to work against their better judgement
Ask your body
Be dirty
Be extravagant
Be less critical
Breathe more deeply
Bridges -build -burn
Change ambiguities to specifics
Change nothing and continue consistently
Change specifics to ambiguities
Consider transitions
Courage!
Cut a vital connection
Decorate, decorate
Destroy nothing; Destroy the most important thing
Discard an axiom
Disciplined self-indulgence
Discover your formulas and abandon them
Display your talent
Distort time
Do nothing for as long as possible
Don't avoid what is easy
Don't break the silence
Don't stress one thing more than another
Do something boring
Do something sudden, destructive and unpredictable
Do the last thing first
Do the words need changing?
Emphasize differences
Emphasize the flaws
Faced with a choice, do both (from Dieter Rot)
Find a safe part and use it as an anchor
Give the game away
Give way to your worst impulse
Go outside. Shut the door.
Go to an extreme, come part way back
How would someone else do it?
How would you have done it?
In total darkness, or in a very large room, very quietly
Is it finished?
Is something missing?
Is the style right?
It is simply a matter or work
Just carry on
Listen to the quiet voice
Look at the order in which you do things
Magnify the most difficult details
Make it more sensual
Make what's perfect more human
Move towards the unimportant
Not building a wall; making a brick
Once the search has begun, something will be found
Only a part, not the whole
Only one element of each kind
Openly resist change
Pae White's non-blank graphic metacard
Question the heroic
Remember quiet evenings
Remove a restriction
Repetition is a form of change
Retrace your steps
Reverse
Simple Subtraction
Slow preparation, fast execution
State the problem as clearly as possible
Take a break
Take away the important parts
The inconsistency principle
The most easily forgotten thing is the most important
Think - inside the work -outside the work
Tidy up
Try faking it (from Stewart Brand)
Turn it upside down
Use an old idea
Use cliches
Use filters
Use something nearby as a model
Use 'unqualified' people
Use your own ideas
Voice your suspicions
Water
What context would look right?
What is the simplest solution?
What mistakes did you make last time?
What to increase? What to reduce? What to maintain?
What were you really thinking about just now?
What wouldn't you do?
What would your closest friend do?
When is it for?
Where is the edge?
Which parts can be grouped?
Work at a different speed
Would anyone want it?
Your mistake was a hidden intention

Saturday, November 19, 2011

Gestural reflections for Thanksgiving and..


2 weeks to go.  Have a great break.

Questions to consider in revising Artist Statement

1.  What motivates me to make art?
What inspires my creative process?
2.  What elements of my work are most important to me?
         -materials, emotions, technique, form, politics, spirituality, color, scale, clarity, nature, memory, beauty, function, etc.
     What is the significance to me of the elements that I've identified as important?
3.  What sensations and emotions do I experience when making a work of art?
     What are my sources of gratification?  Of frustration.
4.  How does my mind work while I am creating?
What Kinds of decisions do I make?
5.  From the perspective of craft, what steps do I go through in making a work?
6.  What artists and/or works of art have most inspired me and/or influenced me?
     With whose Art do I feel the greatest Kinship?
7.  How has my work developed or changed over time or throughout this course)?
8.  What  would I like viewers of my work to experience when looking at my work?
     What kind of responses would I like them to have?
9.  If somebody else had made my work and I saw it for the first time, what questions would I like them to have?
10. What are my hopes, plans or ideas for future work?
11.  What do I think the role of artists in society should be?

      What would I like my role in society to be...(any)

Excercises for improving Artist Statement

BE HONEST.  It matters not what you make, but rather how you make.

1.  Write a detailed description of your ideal studio.
2.  Use the portrait of yourself to write about the following:
- what you see when you look at the self portrait.
- what you think other people would see if they looked at it.
-what the portrait doesn't show about you.

3.  Recount your earliest memory of making art.  How does that moment from the past relate to who you are as an artist today?
4.  Write an imaginary dialogue or conversation between someone who might not like your work and someone who does.
5.  There is an ancient saying(attributed by Plutarch to Simonides of ceos that poetry is a speaking picture and painting is a silent or mute poem.
      For this exercise, imagine that your work is not silent.  Imagine it can speak.  What would it say? To whom would it have something to say?  Write a monologue whose speaker is your visual work.

6.  Write an imaginary interview.  It could be a reporter doing a piece for the school newspaper or The New York Times.  It could be a filmaker making a documentary about you.  It could be a writer from an art magazine doing a feature about you.

7.  Select a work of non-visual art (a poem, a piece of music, a dance) and write about parallels between that work and your own visual art.

Wednesday, November 9, 2011

images: self portraits

as you look at/ "read" these SELF PORTRAIT IMAGES do you get any feeling from the medium, the mark, the figure/ground relationship?

http://www.bing.com/images/search?q=self+portraits&qpvt=self+portraits&FORM=IGRE#x0y0

SELF PORTRAITS DUE @ MUSEUM

Hi Draftsmen and Draftswomen or Drawers:

We will be meeting at the U of Iowa Museum @ the IMU for Monday Nov 14 class session.
*come prepared to draw
*bring self-portrait homework ready to present.  Explain/describe how it relates to your final project using the following guidelines and other criteria that you may discover/formulate....

 1.  WHAT IS THE NATURE OF YOUR SELF PORTRAIT AS PRESENTATION.
examples:  documentation(of...), celebration(of...), Masterbation(about????)  ETC ETC, be creative, find a form of your thought ending in -TION.

2.  Does the medium and/or gesture of your mark support your Expression?explain.

3.  Does the Expression on your face react to the idea, attempt to tell the idea or oppose the idea or otherwise?how?

4.  Are you confronting, confounding or otherwise engaging the viewer with your expression?how?

5.  Figure ground relationship- does the placement of your self-portrait on the page support your idea?  THE SCALE?  Close up/far away?  upside-down?

Good Luck, see you at the museum, to talk a bit about presentation.

Friday, October 28, 2011

Monday, October 24, 2011

INK STIL Life, RESEARCH PROJECTS

DUE WEDNESDAY(come prepared to draw model, in charcoal and graphite)

INK DRAWINGS
  • 4 medium size drawings
  • use any painting tool
  • mind the marks
  • may sketch out in pencil first
  • use "white" of page if you want
  • still life (3 objects, choose for contextual and strong technical form)
  • create dynamic negative spaces
  • make proportions correct (check points in relation to each other to check work)
  • check angles with a PLUM pencil, be honest with your drawing

DUE MONDAY,October 31, Halloween:

Research Artist
present at least 5 images, in any form: books,jpegs etc
Make Presentation, consider their sense of space, interests, describe their style in your own inventive words, supporting your findings with technical terms.

Provide us with the name and dates of pieces made, consider the direction of development of the Artist's work

Make a graphite copy of 1 of the images and describe the experience during presentation

Naomi: Diego Rivera
Kayla:  Malevich
Lindsey:  Leger
Meghan M.:  Duchamp(confer with Katie?)
Kallen:   DeKooning
Claire:  Phillip Guston
Jordan:  Soutine
Sarah:  Winslow Homer
Anna:  Kathie Kollwitz
Meghan H:  Modigliani
Katie:  Beckman
Mercedes:  Kandinsky
Emily:  Nolde
Lara:  James Ensor
Matisse:  Sam

ALSO DUE MONDAY(HALLOWEEN) write -up an assignment for yourself  for your FINAL PROJECT research for your final project.. be specific, be inventive(address technical and contextual).

You don't have to do the work, just the assignment and hand it into me...I will answer question regarding this after model session. 

Good luck
Have FUN



Fold your Bristol Board into 4 Boxes.  In each box you will visually describe a term from column A (this term will define the structure of your drawing) and combine it with a term from column B (this term will define the mood of your drawing).

Saturday, October 22, 2011

SPACE: Homework for Monday 24th

Thank you all for making it to College Green to take a small part in an international movement.

oh and drawing in the cold.

SPACE: a complicated concept in the second dimension.

3 drawings.  in you sketchbook.

Each Drawing should have the same subject (observational drawing.)
each 3 drawings should have a different spacial sense.

utilize:
light
speed
density
focal point
atmospheric perspective(fuzzy/clear)

Medium?
size of support(paper)




Thursday, October 13, 2011

Ink and Paper Collage due Monday 17 October

Nice work exploring Ink with your individual Stillife setups.  I saw successes in everyone's work.

For homework, Continue to explore Ink and Try Collage as you conduct "research" about your final project.  Keep the research open , keep exploring, don't get too specific yet.

Due on the critique wall monday is a series of some sort, utilizing the mediums of Ink and paper collage.  You can draw/paint with Ink and/or you can make different values of paper with your ink to collage with.  You can use any paper.

A few possibilities to consider as part of your ongoing research (better to focus on 1 or 2 at a time):

TECHNICAL 
What type of support (try painting/collaging on several different types of ground)

Size/numbers of Support (what will your series look like, many small works, 2 large works, etc)

Mark Making/ Shape finding (ink is a good medium to explore types of marks and what they express for you versus          how your audience reads them-get a read at critique)

CONCEPTUAL


BIG IDEA(what are all the possible subjects that connect to my idea?)

What does each sense(smell, touch, sight, sound, taste!) have to say about my Big or more specific idea?)

Observational/Conceptual/Abstract?  Sketches/Thumbnails?

Goods luck have fun, I look forward to seeing what u find
-Cheryl









Monday, October 10, 2011

Technical Homework due Wed 10/12

Value chart.
10- square inch boxes,  sharing an edge to edge vertically lined up make a value chart when the #1 box is left white and in a even fade the inches darken (increase value) evenly up to box 10 which should be black.  The transitions between the values should flow, not be sharply delineated.


3 charts, each made with a different grade pencil, ex., 2B, 6B, 8B, employ your gummy(gray eraser)

Value-The relative lightness and darkness of all things.

Saturday, October 8, 2011

Homework due monday october10

The series of Four drawings, including the 'most transformed fruit image' and 3 others of your direction
&
a big idea that your Final paper concept(little/specific idea) might fall under.

this may help:

http://www.youtube.com/watch?v=L5qrE_rBrJQ&feature=related

Wednesday, September 21, 2011

working in a Series, starting with a Gesture

TO DO FOR MONDAY SEPTEMBER 26.

2 drawings, related*= a series.

*related, by medium, content, size, etc.

Assigned Process=
1.  Begin drawings by covering all -almost all white of page with gesture drawings of a live subject.
2.  Use eraser to continue working into/on drawings, deductive step.
3.  Follow where drawing wants to go, may continue to work deductively or additively
4.  Keep drawing ALIVE
5.  Have Fun
6. Stay aware, bring thoughts as well as pieces to crit on Monday

CHECK OUT GESTURE DRAWINGS:
http://www.google.com/search?q=gesture+drawings&hl=en&client=safari&rls=en&prmd=ivns&tbm=isch&tbo=u&source=univ&sa=X&ei=M816TrizBKmFsgLznKGhAw&ved=0CC0QsAQ&biw=1091&bih=615




Thursday, September 15, 2011

Back on Track

Due Monday September 19:  A large drawing(18x24) on Drawing Paper,(Bristol)
An abstract space composed of lines 'found' from sound.

1.  on a scrap piece of paper listen to 5 sounds, with each listening experience, try to translate the sound and possibly rhythm  into marks.  Invent and transpose rather than illustrate.

2.  Use one, some or all of your found marks to create a composition .


3.  How do the marks interact, relate to one another?  Have you varied their size.  What are the marks relationship to the outside edge of the paper?

4.  What type of space are you building, ask the drawing what it sounds like?

5.  Have Fun

make-up in- class for last week:  Monday's class, drawing outside, 1 landscape view, concentrating on variation of mark, and 1 object from the landscape(close up.  homework; 2 objects or two landscapes, landscapes could be made smaller than full page by drawing box/frame for drawing prior to beginning to draw.

Wednesday(from classtime), contour drawing of plant:  2 blind contour drawings, can do in notebook if making up, do not look at page, do not lift pencil, be the ant, become aware of your own pace.  1 long study of plant, including cross contour, the lines, or dotted lines or indication of the ant (and our eye traveling across the plane, the leaf, the arm, whatever the form may be.)

Thursday, September 1, 2011

Cave of Forgotten Dreams


CAVE OF FORGOTTEN DREAMS

cave 3
Sunday, August 28
3:00 pm
5:15 pm
Tuesday, August 30
7:00 pm
9:15 pm
Wednesday, August 31
7:00 pm
9:15 pm
Thursday, September 1
7:00 pm
9:15 pm
CAVE OF FORGOTTEN DREAMS

In 1994, one of the most remarkable archaeological discoveries of the decade came to light in a cave in Southern France, known as the Chauvet-Pont-d’Arc: etchings estimated at around 30,000 years old. The date of origin made these some of the oldest remnants of humankind ever discovered. Unsurprisingly, these artistic remnants bore a precious fragility — experts asserted that overexposure, even to elements as seemingly harmless as human breath, could severely damage or destroy the drawings. For that reason, few obtained access to this area. One exception arrived in the form of maverick German filmmaker Werner Herzog, who not only obtained permission to film (with lights that emit no heat) but did so in 3D — a process that enabled him to convey the textured surfaces on which the figures are drawn, as well as the shape and depth of the cave’s stalagmites and other structures. This astonishing 3D documentary not only provides exquisite visual detail of the cave (as Herzog explores it) but uses the visuals as a springboard to broader philosophical questions about the nature of humanity itself and the transience of humankind.
“To call this movie fascinating is akin to calling the Grand Canyon large.” -Kirk Honeycutt, The Hollywood Reporter
90 min, 35 mm
Trailer: http://www.ifcfilms.com/videos/cave-of-forgotten-dreams-2
(more…)

I hope everyone has set their eyes on this imagery.  
HOMEWORK:

2 pages of "notes" in sketchbook
1 pg written reflection, "your connection to a figure in the film", who/what do you identify with?
1 large drawing (18x24 or larger) "inspired by" Herzog's film.

TERMS/SOURCES FROM CLASS:
George Nick(the great corrector) realist painter, google him.
Countour Line

Wednesday, August 24, 2011

Augusto Boal's Theatre of the oppressed

I hope Tangles and Knots had some effect?
or is your speed Ralph Mayer's,

The Artist's Handbook of Materials and Techniques: Fifth Edition, Revised and Updated (Reference)


GOOD JOB with our first wednesday, our "working" day, I was impressed with the level of focus. 

HOMEWORK DUE MONDAY August 29:
1.  get materials and sketchbook
2.  3 sketchbook drawings, 1 loose drawing (with written reflections of sketchbook drawings)
          a.  observational drawing, subject/content/style of your choice
          b.  a point-only rendition of drawing a.
          c.  move the points of drawing b. so you have a new abstract line and point composition
          d.  loose drawing (not in sketchbook)  transfer/copy drawing c.  keep developing.

USE ERASERS< PENCIL SHARPNERS

Heads Up!!! Wednesday's homework will be to make a large drawing 'inspired by'  Werner Herzog's film Cave of Forgotten Dreams (3:00 pm)sundY
playing this Sunday AT TIMES LISTED ABOVE and Tuesday, wednesday and Thursday; check the schedule:

http://bijou.uiowa.edu/

Plan ahead, if you can't make the weekday evening times, get over to the theatre in the IMU on Sunday. 

See you Monday

Tuesday, August 23, 2011

connect-the-dots

WELCOME...to Basic Drawing 003 Fall 2011
Sarah Bartlett
Jordan Buettner
Kayla Caldwell
Anna Grabowski
Megan Harrington
Katie Hendricks
Emily Janke
Kallen Kramer
Mercedes Masias
Meghan Metier
Samantha Nasca
Naomi Nothdurft
Lindsey Owens
Claire Sabitt
Lara Sund


1.  First Monday Assignment, Due Wednesday, August 24:

18 copies of a self-portrait "connect the dots"

PAPER, STYLE and size:your choice.
Have Fun.
Try to find the DOTS(or points) on your face(where 2 lines converge)