Very Cool Panel Discussion Dec. 10 (Free)

PANEL DISCUSSION
Confounding Expectations X: Photography in Context
The Projected Photograph
Thursday, December 10, 2009 – 7:00 to 8:30 p.m.
The New School, Tishman Auditorium
66 West 12th Street, New York City
Admission: Free
www.veralistcenter.org

Paul Pfeiffer, "Cross Hall (2008)," Wall-recessed mixed media diorama, peephole, live video feed projection. Dimensions variable. Installation view courtesy of Carlier Gebauer. Photo by Bernd Borchardt. Collection of Sammlung Goetz, Munich.

Featuring presentations by artists Andrea Geyer, Paul Pfeiffer and Krzysztof Wodiczko, this panel explores the multiple ways in which artists utilize projection and installation strategies to display still photographic images, and create immersive and cinema-like experiences in museum and gallery contexts as well as outdoor environments.

Departing from the large-scale, tableau treatments of the photographic image printed and framed as wall-based objects, exemplified in works by Jeff Wall, Andreas Gursky, and Gregory Crewdson, in recent years contemporary artists have increasingly employed projection devices––ranging from analogue to digital high-definition––to display photographic images as immaterial light projections, often incorporating sound and performance elements. Geyer, Pfeiffer and Wodiczko present examples from their individual practices as a means of entry into a larger discussion about projection and temporality. Moderated by George Baker, Associate Professor of Modern and Contemporary Art and Vice-Chair of the Department of Art History, UCLA.

"Confounding Expectations" is presented by the Aperture Foundation in association with the Department of Photography at Parsons The New School for Design and the Vera List Center for Art and Politics. It has been hosted by The New School since 2001. The Aperture Foundation, publisher of Aperture magazine, is a not-for-profit institution dedicated to the support and advancement of photography as a fine art. The lecture series is made possible, in part, by public funds from the New York State Council on the Arts and the New York City Department of Cultural Affairs and with generous support from the Ketterling Family Foundation and the Henry Nias Foundation.

Great job on your Critical Drawing projects!

Really excellent work on your Critical Drawing projects. Both Michelle and I were very impressed. Please photograph your pieces and post them to flickr asap.

Homework + supplies due 12.02.09

1. 14 Journal project entries. You should have 21 total for me to review, I didn't get to check them off last week after the crit.

2. Sketch out 3 possible options to resolve the Journal project. These should be somewhat detailed, since the project is due Dec. 9.

3. Bring all of your Journal project entries and any materials you think you might possibly need to get started.

4. Photograph your Critical Drawing project and post to flickr.

Homework + supplies due 11.18.09

1. 7 Journal project entries.

2. Finish your Critical Drawing project. We are starting the crits as close to 9am as possible, so please get to school in time to properly install your work. You guys have been working really hard for the past 4 weeks, I'm expecting to see some spectacular projects!

Tracey Emin at Lehmann Maupin

Tracey Emin at Lehmann Maupin

201 Chrystie St.
Nov. 5-Dec. 19, 2009

Homework + supplies due 11.11.09

1. Serious PROGRESS on your Critical Drawing project.

2. 7 Journal project entries.

3. Bring anything and everything you need to work on your Critical Drawing. This is your last day to work in class, projects are due on 11.18.09.

4. Bring in ALL of your Journal Project entries thus far, for another class discussion with Michelle.

Tough Topics for Critical Drawing Project

The Yes Men


David Wojnarowicz
David Wojnarowicz reading "Fevers"

Tracey Emin

Homework + supplies due 11.04.09

1. Keep working on your Critical Drawing project. You must show me PROGRESS next week: sketches, photos, writing, media tests, etc.

2. 7 Journal entries.

3. Supplies: Bring anything you think you might need for your Critical Drawing project to have a productive class.

Homework + supplies due 10.28.09

1. Four sketches of possibilities for your final Critical Drawing project, based on your most compelling idea/topic.

2. Bring anything you think you might need to work on your Critical Drawing project in class.

3. 7 Journal project entries.

Graffiti in Williamsburg | Critical Drawing

In teams of 2, go to Williamsburg and find some great graffiti. Here's a map to get you started.



View offManhattan.com: Williamsburg Brooklyn Graffiti Tour in a larger map

Photograph at least 2 pieces, post them to flickr, and be prepared to explain what you saw (technique, content, context) and why you like it in class. Be back here by 1:00pm, ready to talk.

Other Critical Drawing references:
Faile
Banksy
Swoon

"Emory Douglas: Black Panther" at the New Museum

As part of the Critical Drawing project, we are taking a field trip to the New Museum to get a tour of "Emory Douglas: Black Panther." For more info on the exhibition click here. Our tour starts promptly at 12:15, we will leave from the classroom to head over at 11:15. Since you've already paid me for your ticket, it's critical that we all go in together.

The New Museum is located at 235 Bowery, New York, NY 10002. Take the F/V train to 2nd Ave./Lower East Side. Walk one block west on Houston, then one block south on Bowery, and you'll see the museum on the east side of the street.

Homework + supplies due 10.21.09

1. 7 Journal project entries.

2. Research three issues/topics for your Critical Drawing Project. Write at least 1 paragraph about each, highlighting key points of concern and why you find this issue compelling. Be prepared to present these to the class next week.

3. Bring in all of your Journal entries, so we can finish the Journal project discussion with Michelle.

Critical Drawing Project + References (due 11.18.09)

Dan Perjovschi, "Have a nice day!", 2001

There is a rich history of using drawing as a means of social protest. Drawings (and their close relations, prints) have documented our societal failings and misdeeds, and incited uprisings, at least since the caves at Lascaux. For this second long-term project, you will develop a piece, or series of pieces, that explores drawing as a means of social protest/critique or a commentary on current events. The project will be developed over the next 4 weeks, with a full critique on 11/18. If you want to work from life, you have the option of working with 2 models in the classroom that you can pose or use as reference.

Start with some issues you feel passionately about, research these issues, then start doing sketches for your piece. This should be a thoughtful, considered project, and any controversial or inflammatory subject matter needs to be fully considered. Some questions to ask yourself about each topic: What’s the best way to talk about this issue? Does it need to be a drawing in the traditional sense, or a print? Does it need to be distributed (sticker, pamphlet, stencil)? How does the medium enhance/detract from the content? What do I want the viewer to walk away with?

The key to many successful artworks is installation and documentation. Think about how you are going to install your work, and what exactly you want the audience to see: Is it a drawing? A photo of a drawing? An animation? A live performance? Are you showing only evidence from a past performance? Are we watching a video of the performance?

Please plan in advance. Reserve an installation room if you need it, and consider how, when, where and what equipment (camera, TV, DVD player) you will need.

References:
William Hogarth
Honoré Daumier
Robert Colescott
Kara Walker
Raymond Pettibon drawings from summer 2003
Dan Perjovschi website
Dan Perjovschi at MoMA with video
Jennifer Allora and Guillermo Calzadilla
Graffiti Research Lab: LASER Tag video

Extra Credit: Open Drawing and/or Pablo Bronstein at the Met

You have 3 options for extra credit this semester:

1. Open Drawing
There is an open drawing session with 3 models sponsored by the Illustration department each Friday during the semester. They run from 3-8 in room 1104, 2 West 13th St. To get extra credit, stay for 3 hours and bring in your sketches.

2. A 2-page essay on the Pablo Bronstein exhibition at the Met
-Link to Met exhibition info
Go to the Met, and write a 2-page essay on the Pablo Bronstein drawing show. Tell me a bit about him, describe the work, and write some thoughtful insights. Email it to me, along with your entrance receipt.

3. Dr. Sketchy's
Go to one of Molly Crabapple's "Dr. Sketchy's" drawing events (for more info, click here). Stay for the full program, and bring in your sketches to class the following week.

Molly Crabapple and Dr. Sketchy’s Anti-Art School

Great article in the NY Times on Molly Crabapple, an artist and illustrator who runs a monthly event called Dr. Sketchy’s Anti-Art School, where you can draw burlesque performers in costume. To read the article, click here.

Homework + supplies due 10.14.09

1. Photograph your Nocturne well, and post images to flickr.

2. 14 Journal entries (7 for this week, plus 7 from last week).

3. Next week I will introduce your next long-term project, Critical Drawing (due 11/18). This will be a piece or series that explores drawing as a means of social protest or a commentary on current events. Bring your sketchbook to take notes.

4. We are going on a field trip to the New Museum to see "Emory Douglas: Black Panther." You've all given me money for the tour, but please bring a metrocard, and food money if you want to eat near the museum. Bring your sketchbook.

Crit Groups: Nocturne

Group A
Kyle
Peter
Maura
Esther
Agyong

Group B
Joanne
Zack
Kelly
Ginny
Bunny

Group C
Lisa
Olivia
Maria
Eric

Group A critiques Group B, Group B critiques Group C, Group C critiques Group A.

Homework + supplies due 10.07.09

1. Finish your Nocturne project, we'll be critiquing them next week first thing. In addition to the final piece, please bring in all of your supporting work: sketches, photos, etc.

2. Think about where you want to hang/install your Nocturne, and bring in any supplies you need to properly do so (pushpins, tape, etc.). 

3. 7 Journal entries.

4. If you haven't already, do the MoMA Nocturne assignment for half credit, and email me 3+ paragraphs about the piece you chose: tell me about the drawing, the artist, and why/how it's a Nocturne.

drawing show + event at the Met

An Evening with Pablo Bronstein
Artist’s Talk and Social Event on October 2
*not required, but go for extra credit

WHAT

On the occasion of the exhibition Pablo Bronstein at the Met, Spectrum presents An Evening with Pablo Bronstein: an artist's talk followed by a private cocktail hour for the guests and an opportunity to meet the artist.

WHEN

Friday, October 2, 6:30 p.m.

WHO

Artist Pablo Bronstein (British, b. Argentina, 1977) lives and works in London. Pablo Bronstein at the Met—the artist’s first solo exhibition in New York—features new work addressing the history and future of The Metropolitan Museum of Art. Several large ink drawings suggest a mythical history of the Metropolitan Museum, while smaller drawings focus on hypothetical futures of the Museum.

TICKETS

$20 (includes Museum admission)

CLICK HERE TO ORDER TICKETS

WHERE                    

The Metropolitan Museum of Art, Fifth Avenue and 82nd Street

EXHIBITION DATES

October 6, 2009–February 21, 2010

Homework + supplies due 09.30.09

Untitled Marc Brandenburg (German, born 1965)

1. Go to MoMA to see "Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings Collection"
http://moma.org/visit/calendar/exhibitions/311. Choose one drawing that you feel is a Nocturne. Take a photo of it, post the photo to our flickr photostream, and be prepared to present it in class next week. You have 5 mins. to tell us about the drawing, the artist, and why/how it's a Nocturne.

2. 7 Journal entries.

3. Continue work on Nocturne. Bring in evidence of your work and progress.

4. Supplies:
Bring in anything you might even remotely need to work on your Nocturne.

5. Bring in your Monumental Figure drawing.

Homework + supplies due 09.23.09

1. Finish your monumental figure drawing, and bring it to class 09.23 for a brief crit.

2. Continue work on your Nocturne project. You must bring in evidence of your progress to class next week -- more detailed sketches, tests with different materials, etc. This was discussed with each of you in class, if you have questions please email me.

3. 7 Journal entries.

4. If you haven't already given it to me, $10 for New Museum field trip.

5. Post photos of your class work to http://flickr.com.

6. Supplies for next week:
-Bring in anything you even think you might need to work on your Nocturne in class.

Monumental Figures

Jenny Saville, Plan

List of Artists

Francisco de Goya y Lucientes (Goya) Spanish Rococo Era/Romantic Painter and Printmaker, 1746-1828

Tiziano Vecellio Di Gregorio (Titian) Italian High Renaissance Painter, ca.1485-1576

Michelangelo Merisi da Caravaggio (Caravaggio) Italian Baroque Era Painter, ca.1571-1610

Edouard Manet, French Realist/Impressionist Painter, 1832-1883

Jean-François Millet, French Realist Painter, 1814-1875

Vincent van Gogh, Dutch Post-Impressionist Painter, 1853-1890

Pablo Picasso, Spanish Cubist Painter and Sculptor, 1881-1973

Henri Matisse, French Fauvist Painter and Sculptor, 1869-1954

Lucien Freud, German-born British Painter, born in 1922

Leon Golub, American Painter, 1922-2004

Jenny Saville, British painter, born 1970

Kitagawa Utamaro, Japanese, Edo Period (1753-1806)

Visiting Artist Lecture Series, Fall 09

Make note of this semester's visiting artists lecture series! The first lecture will be given tomorrow, 9/16, by Brooklyn-based painter Alexi Worth. Images of his work can be seen at his website: www.alexiworth.com.

Here are some links where you can find images of each artist's work:

09/23 - Shirin Neshat
09/30 - Shinique Smith
10/07 - Kurt Kauper
10/14 - Reverend Billy and Savitri D.
10/21 - Miguel Ventura
10/28 - Chico MacMurtrie
11/04 - Walid Raad
11/11 - Michael Joo
11/18 - Fred Wilson
12/02 - Marina Rosenfeld

Homework + supplies due 09.16.09

1. 4 Nocturne sketches.

2. 7 Journal entries.

3. If you haven't already given it to me, $10 for New Museum field trip.

4. Post photos of your class work to http://flickr.com.

5. Supplies for next week:
-Kraft paper (available for free from shop)
-jumbo charcoal sticks
-compressed charcoal
-sumi ink
-sumi brushes
-other large brushes
-containers for water and ink

Open Drawing at Parsons

There will be an open drawing session with 3 models sponsored by the Illustration department each Friday during the semester.  The first one will be this Friday from 3-8 in room 1104.  Drop in, draw and get some free model time!

Icons

Main Entry: icon
Variant(s): also ikon
Function: noun
Etymology: Latin, from Greek eikōn, from eikenai to resemble
Date: 1572
1 : a usually pictorial representation : image
2 [Late Greek eikōn, from Greek] : a conventional religious image typically painted on a small wooden panel and used in the devotions of Eastern Christians
3 : an object of uncritical devotion : idol
4 : emblem, symbol (icon of 1960's residential architecture — Paul Goldberger)
5 a : a sign (as a word or graphic symbol) whose form suggests its meaning b : a graphic symbol on a computer display screen that usually suggests the type of object represented or the purpose of an available function

— icon·ic \ī-ˈkä-nik\ adjective

— icon·i·cal·ly \-ni-k(ə-)lē\ adverb

References 
Lascaux
Byzantine Icon
Shepard Fairey video
Shepard Fairey's work
Andy Warhol
Vik Muniz

Nocturne Project + References

With this first long-term homework assignment you have the opportunity to use 'Night' as the subject / metaphor for a well-developed, thoughtful piece or series. Using subtle nuances of tone, light, value and restraint think about the attitude of a Nocturne. Select your choice of paper and medium, or mixed medias, your scale will be based on the developing sketches that you will produce. Due 10.07.

References
Paul Chojnowski
Bill Henson
Yvonne Jacquette
Banks Violette
Goya
Van Gogh
Albert Pinkham Ryder
Turner
"Blade Runner," dir. Ridley Scott

Homework + supplies due 09.09.09

1. 7 Journal entries.

2. Purchase supplies from supply list.

3. Bring in 3 different kinds of paper and at least 2 non-traditional drawing materials.

4. Bring in $10 for New Museum field trip and tour of the Emory Douglas exhibition. For more info click here.

Journal Project (due 12.09.09)

Steve Mumford, Baghdad ER

This is an assignment that will be active throughout the entire Fall Semester with a final critique during the last class, 12/9. Throughout the fall and winter, by way of daily entries, you will sustain and develop a group of ‘drawings’ that record, observe, and draw from theme, narrative, or chaos. With your choice of mediums, collections, notations, imprints, stains, written text, collage, burns, oil spills, sewing, drawing, or marking etc., the books will be filled by daily contacts, comments, concepts.

These journals will not be formally critiqued until the last class, but occasional checks by faculty and or peers are scheduled. By the final critique your journal will be completed as a book form, an object, a sculpture, a base for animation or time based project, an installation, or whatever format you choose.

The basic expectation and objective of this Journal Entry Project is to give you a moment, (uncompromised as best we can) to react, respond, note, rant, collect, explain, ask and ultimately remember and witness how you see.

References:
1. Henry Moore
"Quite against what I expected, I found myself strangely excited by the bombed buildings, but still more by the unbelievable scenes and life of the underground shelters... I went into London two or three days a week to do my shelter drawings... I began filling a notebook with drawings - ideas based on London's shelter life. Naturally I could not draw in the shelter itself; I drew from memory on my return home" -- Henry Moore
2. Steve Mumford (his image "Baghdad ER" is featured above)
3. James Castle
"Castle used drawings to examine everything in sight. With a mixture of stove soot and his own saliva on tips of sharpened sticks he recorded his immediate surroundings, the interior and exterior of his house, the shed, the barn, in drawings with perfect perspective."
Video clip about Castle's work
4. Delacroix
5. Anish Kapoor
6. Cai Guo Qiang
7. Daniel Buren
8. Anthony Caro