art 2011 curriculum development report final...

Curriculum Development Introduction to Art, Art2011 Themes: Local To Global, Cultural Diversity Rosa Dargan Powers and IlaSahai Prouty For this grant we developed five modules:

1. Radial Designs in Hindu, Native American, Mexican and European Practices 2. Masks from Cultural and Global Perspectives 3. Curated Portfolio of Artworks 4. Video At Project 5. Public Art Proposal

Connection to Learning Outcomes:

The learning outcomes we selected are:

Goal 1.1: Thinking Critically and Creatively

Successfully integrate disparate concepts and information when interpreting, solving problems, evaluating, creating, and making decisions.

Goal 3.3 Making Local to Global Connections

Demonstrate knowledge of contemporary issues related to cultural diversity in the United States and other areas of the world.

1. Masks from Cultural and Global Perspectives

This module will address both goals. Students will develop knowledge of masks and mask traditions from multiple cultures around the globe and conduct cross-cultural analysis of these traditions. Students will integrate disparate concepts by creating masks of their own imbued with personal content while drawing upon their research of mask traditions.

2. Radial Designs in Hindu, Native American, Mexican and European Practices This module will address both goals. Students will develop knowledge of radial designs from multiple cultures around the globe and conduct cross-cultural analysis of these traditions. Students will integrate disparate concepts by conducting cross-cultural analysis and creating radial designs of their own.

3. Curated Portfolio of Artworks This module addresses both goals. Students will develop knowledge of contemporary issues related to cultural diversity by reviewing art from a number of sources and selecting a diverse portfolio of works for their portfolio.

Curriculum Development, Art 2011 2

Students will evaluate and make decisions as they select works for their portfolio, and will integrate disparate concepts and information as they research and write about each piece.

4. Video Art Project This module addresses Goal 1.1. Students will integrate disparate concepts and information by attempting to reconcile non-narrative concepts while working with a medium that lends itself to narrative forms. Additionally, students will solve problems, evaluate results, and make decisions while creating a work of art collaboratively.

5. Public Art Proposal This module addresses Goal 1.1. Students will integrate disparate concepts as they interpret the identity of a particular community through the concept development for a public work of art. This will also require the creation of multiple ideas through brainstorming and decision making as a final concept is chosen.

Connection to Perspective Themes

Themes: Local to Global and Cultural Diversity

1. Masks from Cultural and Global Perspectives This project asks students to compare and contrast global mask traditions, and to make a personal, or local, mask. Students will develop an awareness of cultural diversity by creating a study of masks from multiple cultures and creating a cross-cultural analysis.

2. Radial Designs in Hindu, Native American, Mexican and European Practices This project asks students to compare and contrast radial designs from around the world, and to make a personal, or local, mask. Students will develop an awareness of cultural diversity by creating a study of masks from multiple cultures and creating a cross-cultural analysis.

3. Curated Portfolio of Artworks This project asks students to move from Global to Local by asking them to consider a vast selection of ‘good’ artworks and to make selections from a personal perspective. By creating a portfolio of works from diverse sources, students will delve into a number of different cultural contexts, both contemporary and historical.

4. Video Art Project This collaborative project develops students’ ability to work with others on a complex task.


5. Public Art Proposal This project asks students to develop a personal idea for a Local context or community, and to consider the Culture of that community when deciding on a final concept.

Integration with Theme

It is our hope that by making these materials available to other the members of our themes through ASULearn we will be able to begin the process of building connections within our themes. This is a first step that we hope will set the stage for further integration. However, given the large number of sections in our course, and in the Cultural Diversity theme in particular, we feel this is an appropriate first step to create alignment among the sections of our course and to provide opportunities for other members of the theme to access our work. We are also hoping that other courses within our themes have participated in this process and will have materials to share. Through the coordinator of our course (Ila Prouty) we will communicate with the theme coordinators about the materials.

Dissemination of Materials

As coordinator for Art 2011, I (IlaSahai Prouty) will meet with the fall instructors in August. Prior to that meeting I will a) post the materials to ASULearn and b) communicate with them about the newly available materials so that they can include them in their planning. In the August meeting I will field questions about the materials. During the semester I will be available for support regarding implementation and ASULearn materials. The materials we have developed will be used in two sections (IlaSahai Prouty and Rosa Dargan Powers). Additionally, all faculty will be asked to implement at least one of the assignments this fall.


Modules Included:

1. Radial Designs, p.5 Students will study and then create radial designs. By examining and cultivating a deeper awareness of their own values and those of other cultures, students are apt to develop an understanding and appreciation of alternative perspectives and worldviews.

2. Masks, p.10

Students will learn about mask traditions from different cultures through personal research, a power point presentation, a film, group discussion and personal creative process.

3. Curated Portfolio, p.17

Students develop language for discussing works of art, build a portfolio of works from diverse sources that they like and write commentary on each piece.

4. Video Art, p.23 Working in small groups, students design and create non-narrative works of art using video as a medium.

5. Public Art Proposal, p.36

Respond to a professional Request For Proposals for public art with a written proposal and maquette.


Radial Designs: A Global Perspective Project Summary: Students will study and then create radial designs. By examining and cultivating a deeper awareness of their own values and those of other cultures, students are apt to develop an understanding and appreciation of alternative perspectives and worldviews. Theme, terms and concepts to be covered: Global, Local, Culture, Diversity, Gender, Identity, Representation, Media, Class General Education Learning Outcome(s) Addressed: Goal 3.3 Making Local to Global Connections




Project Goals:

Students who complete this assignment will be able to: Complete a cross-cultural analysis of radial designs form different cultures. Create a personal radial design that explores and reflects their values, beliefs, life journeys and personal histories. Complete a written statement explaining the content of their design. Compare and contrast the radial designs from different cultures to determine how each design tradition reflects and supports its culture of origin. Students will look for similarities among radial designs worldwide to demonstrate unity among diversity.

Assignment Context: This assignment will be given toward the end of the semester. Students will have already:

• Viewed and discussed the formal similarities and differences of works from different parts of the world (cave paintings and petroglyphs.)

• Demonstrated a knowledge of the elements of art and principals of design • Responded to and analyzed works of art • Researched and discussed works (masks) from different cultures


Detailed Assignment Sequence: 1. Instructor will show slides of radial designs from several cultures. For each slide,

the instructor will explain how each radial design reflects and supports the values, beliefs and traditions of the cultures in which they originate. Particular attention will be given to the significance of the materials used, methods of construction, persons who create the designs and the ritual associated with the construction process. The following designs will be discussed: mandalas, kolums, Navaho Sand Paintings, the Aztec Sun Stone, Native American Medicine Shields, Native American Medicine Wheels, Gothic Rose Windows and labyrinths.

2. Following the slide presentation, students will divide into small groups and discuss the similarities among the various radial designs as an illustration of unity within diversity and will speak to the significance of this. Groups will share their discussion with the whole class.

3. Students will create a radial design that explores and reflects their values, beliefs,

life journeys and personal histories. Students will write a description of their radial designs explaining its significance. (see Creating a Radial Design assignment document)

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Creating a Radial Design In creating a personal radial design, think about and compose the different impulses, passions, values, cycles etc. present in your life. Find the center and pull in all the scattered aspects of your life into an ordered pattern. You may want to work with many aspects of your life or a few.. When designing, you may want to refer back to all the radial designs that we viewed such as Mandalas, Kolums, Navaho Sand Paintings, the Aztec Calendar Stone, Medicine Shields, Medicine Wheels, Rose Windows and Labyrinths. Materials: White paper Pencils Colored pencils, prisma stix and/or watercolors Compass (optional) Ruler (optional) Requirements:

• Must be at least 10” in diameter • The motifs you chose may be representational or non-representational • Be aware of the negative spaces as you design • Incorporate value gradations with at least one color • Write a short description about your radial design explaining the content

and why specific motifs, colors etc. were chosen. How do the design elements support the content of your work? This description may be written on the back of the design or on a separate sheet that is stapled to your design.

“ Everything the Power of the World does is done in a circle. The sky is round, and I have heard that the earth is round like ball, and so are all the stars. The wind, in its greatest power, whirls. Birds make their nest in circles, for theirs is the same religion as ours. The sun comes forth and goes down again in a circle. The moon does the same, and both are round. Even the seasons form a great circle in their changing, and always come back again to where they were. The life of a man is a circle from childhood to child hood, and so it is in every thing where power moves” from Black Elk Speaks By Neihardt, 1961: 32-33


Radial Design Rubric Design: ______/80 points Is your radial design is at least 10 inches?_____/20 Does your design reflect a consideration of negative as well as positive space?____/20 Have you used a value gradation with at least one color?_____/20 Have you used good craftsmanship?____/20 Does your design reflect an awareness of how the elements of art and principles of design can work together to create a strong and meaningful work? ____/20 Written Description:_______/ 20 points Have you included a written description explaining how the lines, shapes colors, images and other elements support the content of your work?_____/20


Radial Design Images Power Point Presentation Images 1-6: Kolums Artstor Presentation Images 1-12: Mandalas Images 13-25: Navaho Sand Paintings Images 26-29: Aztec Sun Stone Images 30-37: Native American Medicine Shields Images 38-41: Native American Medicine Wheels Images 42-49: Rose Windows, Chartres Cathedral Images 50-56: Rose Window, Notre Dame Cathedral Images 57-59: Reims Cathedral Images 60-61: Chartres Labyrinth Image 62: Reims Labyrinth Image 63: Hopi Labyrinth Image 64: Rocky Valley Labyrinth Images 65-67: Grace Cathedral Labyrinth


Masks: A Global Perspective Project Summary: Students will learn about mask traditions from different cultures through personal research, a power point presentation, a film, group discussion and personal creative process. By examining and cultivating a deeper awareness of their own values and those of other cultures, students will develop an understanding and appreciation of alternative perspectives and worldviews. Theme, terms and concepts to be covered: Global, Local, Culture, Diversity, Gender, Identity, Representation, Media, Class Other terms and concepts to be covered: Conceptual art, Masquerade, Folk Art Learning Outcomes and Goals to be Achieved: Goal 1.1: Thinking Critically and Creatively




Project Goals:

Students who complete this assignment will be able to:

Research works of art (masks) from six different cultures. Work as a group to write a cross-cultural analysis based on research (about mask traditions) from multiple cultures Create a personal work of art (mask) to symbolize some aspect of personal transformation Write an analysis explaining the content of their artwork Compare and contrast the mask traditions from multiple cultures to determine how each tradition reflects and supports its culture of origin Describe similarities among mask traditions worldwide as a demonstration of unity among diversity


Faculty Materials and Resources:

Film: Faces of the Spirits

Assignment Context: This assignment will be given at the end of the semester. Students will have already:

• Viewed images of cave paintings and petroglyphs from different parts of the world and discussed the similarities and differences.

• Demonstrated a knowledge of the elements of art and principals of design • Responded to and analyzed works of art

Description of module:

1. Students will research mask traditions of six cultures from at least three continents. With each mask, students will describe how the mask is used within the culture in which it is made, who wears it and why, the materials used for construction, and what it tells us about the beliefs, lifestyle and customs of the culture in which it was made. (See Mask Card assignment)

2. Instructor will show slides of mask from several cultures. For each slide, the instructor will explain how mask are used in different cultures, the materials used to construct the mask, the persons who make the mask, the persons who wear the mask, the time of year is it used, whether or not it is used as part of a masquerade, ritual or other ceremony, how it transforms the wearer, how it creates change in the community and how it is connected to religious or spiritual beliefs.

3. Instructor will show the film: Faces of the Spirits. This film is a 30-minute

documentary of the Sulkas of Papua New Guinea. It documents the Sulka using mask for several different ceremonies including a rite of passage.

4. Students will gather in small groups and discuss the mask traditions that they

researched as well as those viewed in the film and power point presentation. As a group they will write a cross-cultural analysis of the mask traditions as a way of demonstrating unity among diversity within the cultures they researched.

5. Students will create a mask that serves as an object of personal transformation.

Students will share these mask with a small group of their classmates. They will explain the meaning of their mask and how the chosen materials and design elements support the content of the mask. The meaning and “use” of the mask should direct the materials and design elements used.


Mask " Cards" Assignment Due: This project has two parts. The first part is personal research done independently. The second part will be done with a small group in class on XX. This project counts XX% of your grade. Part One: Mask "Cards" (84 points, 13 points per card) Create six mask "cards". Each card will have a picture and information about one mask. Your cards will reflect mask traditions from six different cultures from at least three different continents. On each card, you will include the following:

• A picture of one mask (color or black/ white) • The culture and geographic location in which the mask is/was made • The materials used to construct the mask • Community members who make the mask • Community members who wear the mask • The time of year is it used • Whether or not it used as part of a masquerade • Whether or not it is used in a ritual or ceremony? • Describe how the mask transforms the wearer (masker) • Describe how the mask or masquerade creates change in the community • Describe how the mask tradition supports the community • Explain how or if the masking tradition is connected to religious or spiritual

beliefs Include citation Note: You may not research occupational mask such as those used by surgeons, welders, baseball catchers etc. If you want to research Halloween mask, you must go to the origins of the Halloween tradition in Ireland. Requirements:

• Essay form • One page per mask (at least 1⁄2 page of text per mask/page) • Times New Roman • One inch margins • Doubled spaced • Bibliography • Name in upper right corner • Stapled!!! No e-mail submissions!


Part Two: Cross Cultural Analysis (16 points) You will join your group in class to discuss mask traditions and write a cross-cultural comparison We will proceed as follows:

1. Each person in the group will share one mask tradition that they researched that was most intriguing to them and explain why.

2. As a group you will write a cross-cultural analysis of the mask traditions as a way of demonstrating unity among diversity within the cultures you researched. Look for common threads among these traditions.

3. Each group will share their analysis with the class.


Mask Card Rubric __________/100 Card one: Picture_________/2 Text___________/8 Citation________/3 Card two: Picture_________/2 Text___________/8 Citation________/3 Card three: Picture_________/2 Text___________/8 Citation________/3 Card four: Picture_________/2 Text___________/8 Citation________/3 Card five: Picture_________/2 Text___________/8 Citation________/3 Card six: Picture_________/2 Text___________/8 Citation________/3 Cross-cultural analysis_______/16


MASK PROJECT You now have a mask of a face. For symbolic purposes, it would be good to think of this mask as your face. Your next task is to transform your mask/yourself in some way. You may want to refer back to your research paper or the slide presentation for ideas or you may look within yourself for guidance. You may want to transform your mask into an animal that you would like a stronger connection with, a creature that represents/symbolizes your higher self, a creature that represents/symbolizes your “shadow self”(a part of your personality that you don’t often show to the world). It could be a mask for healing purposes either physical or psychological, either for you or the community/world. It could be a mask to honor someone. It could represent a virtue or feeling that you value. To transform your mask, use additional paper, pastels, paint etc. You may want to further embellish with feathers, beads, leaves, straw, seeds, sequins, bottle caps and other found objects. Explain, in writing, on the reverse side of the mask, the “transformation” and the process of embellishment. Explain why specific design elements and materials were chosen and how the materials and design elements support the content. Be prepared to present your mask to your group. Materials: Heavy paper Materials of your choice for embellishment Grading Rubric Creativity_____/30 points Craftsmanship______/30 points Design elements reflect the content____/20 Written description______/20 points


List of slides/images available in power point format: 1. Shaman of Trois Freres 2. Egyptian funerary mask 3. Egyptian funerary mask , Yuya 4. Egyptian funerary mask , King Tutankhamun 5. Incan Burial Mask 6. Mayan Burial Mask, Pakal 7. Maori Mask, New Zealand 8.Aboriginal Mask, Australia 9. Four Savi Mask, Papua New Guinea 10.Masquerade, Papua New Guinea 11. Bamileke Mask, Cameroon 12.Guro Mask, Ivory Coast 13.Dan Mask, Liberia 14. Dan Mask, Liberia 15. Dan Mask, Liberia 16.Kifwebe Mask, Songye Tribe, Congo 17.Kifwebe Mask, Songye Tribe, Congo 18. Gelede Mask, Yoruba, Nigeria 19. Gelede Mask, Yoruba, Nigeria 20. Gelede Mask, Yoruba, Nigeria 21.Gunga, Zaire 22. Bear Mask, Northwest Coast Native Americans 23. Raven Mask, “ 24. Killer Whale Transformation Mask “ 25. Transformation Mask “ 26. Yup’ik Mask ‘ 27. Kachina Mask, Hopi Native American 28. Kachina Masquerade, “ 29. Whistler Mask, Iroquois Native American 30. Whistler Mask, Iroquois Native American 31. Whistler Mask, Iroquois Native American 32. Corn Husk Mask, Iroquois Native American 33. Noh Mask, Japan 34. Noh Mask, Japan 35. Noh Mask, Japan 36 Dragon Mask, Bhutan 37 Carnival, Venice 38. Carnival, Venice 39. Carnival, Venice 40. Carnival, Venice 41.Carnival, Venice 42. Vejigante, Puerto Rico 43.Vejigante, Puerto Rico 44. Vejigante, Puerto Rico. 45. Mardi Gras Mask


Curated Portfolio

Project Summary:

Students develop language for discussing works of art, build a portfolio of works from diverse sources that they like and write commentary on each piece.

Terms and concepts to be covered:

Culture, Diversity, Identity, Media,

Qualitative Analysis, Formal and Conceptual Attributes

General Education Learning Outcome(s) Addressed:





Project Goals:


Identify works of art that one likes from a diverse set of resources.

Describe personally selected works of art using formal and conceptual terminology

Develop and expand a sense of ones personal taste in art

Discuss the attributes of works of art using nuanced qualitative analysis

Understand that personal taste is influenced by ones culture, class, ethnicity, gender, age and other individual attributes

Observe that a diverse group of people will express themselves in myriad ways through art

Student Materials and Resources: Access to ASULearn


Assignment Context:

This assignment is usually given at the beginning of the semester as a way of encouraging students who are grounded in limiting perspectives to personally engage with and respond to the art that they will see during the semester.

Additionally, it is designed to help students to understand and expand their preferences in art.

Detailed Assignment Sequence:

1. Working with the class, develop a few examples of formal, emotional, conceptual and other qualities that may be used to describe and evaluate a work of art. Note that a work of art is rarely only one thing or the other, but falls somewhere along a continuum. For example:

Graceful⇔Awkward Large⇔Small Artist is like me⇔Artist is not like me Complex/Obsessive⇔Simple/Elegant Colorful⇔Muted⇔Colorless Emotional⇔Intellectual

2. Deliver image lecture of works that you (the instructor) personally ‘like’ or appreciate in some way. The works may be drawn from a number of different sources including the textbook, online resources, personal encounters, etc. Discuss why you ‘like’ them, using various types of reasons for your choices. (Familiarity, personal experience, certain type of look, the story behind it, the feeling it evokes, etc.) Note that ‘liking’ something (as on facebook) is usually a vague and polite way of expressing oneself. Request that going forward, students try not to use the expression, or to immediately expand on the comment with specific reasons.

3. Evaluate the works of art from the lecture in terms of the continua. Ask students to expand the list of continua as needed. For example:

Textured ⇔ Smooth Old ⇔ New Well Known ⇔ Obscure Representational⇔Abstract Predictable⇔Un-predictable Well-crafted⇔Lacking Craftsmanship


Colorful⇔Muted⇔Colorless Emotional⇔Un-emotional Intellectual⇔Anti-intellectual Emotional⇔Intellectual Contemporary⇔Historical Male⇔Female

4. Portfolio Assignment: See attached handout.

Students identify 10 ‘great’ works of art that they are drawn to during the semester. Portfolios are built online in ASULearn. (See template.) Optionally, restrict the selections to works found in collections, or works other than the work of one’s friends, et cetera. Consider having 5 entries due by mid-semester, and five due near the end of the course, or one entry due each week. Encourage students to continue to revise and edit their selections throughout the semester as their knowledge and exposure expands. Require students to complete 3 of entries before they are able to see entries by al students. (This is a feature that can be enabled in ASULearn.) Limit entries to one work per artist (unless there’s a compelling reason). The goal here is to develop a breadth of preferences. Optionally use additional requirements to encourage breadth (at least one per continent, gender, century, medium, etc.)

Additional discussion topics:

What is Art for? (Explore definitions from various cultures.)

What is the job of an artist? (Explore definitions from various cultures.)

What is the difference between evaluating art from a personal perspective and a scholarly perspective?

What does it mean to conduct a critical dialog?

Evaluation and Grading Process:

1. Optionally, encourage students to comment on each other’s entries. 2. See Grading Rubric


Good Works Curated Portfolio Assignment Explore what you are drawn to in art by curating a virtual art collection. Image

• Over the course of the semester, select 10 artists whose work interests you. Look at their work in general, then focus on one work in particular.

• Post a medium-sized image of this work. Do not post a large image - the constraints for this ASUlearn assignment will not allow you to post large images.

• Build a varied portfolio; include artists from a number of disciplines, cultures and time periods.

• I am not your only source. Go out and look around beyond class and readings (for example: gallery shows, museums, library books, websites.)

• Build this portfolio over the course of the semester. DO NOT do it all now. Context

• For each work, write and post a brief statement placing the work in context. Include information about the artist, their artistic practice, and the particular work you are considering. Include stories about the work or particular facts that help you and your reader to understand the work.

• Cite your sources using the Modern Language Association Style (MLA). For help generating correct citations go to http://guides.library.appstate.edu/cite

Response • Write a brief statement elaborating your responses to the work of this artist and

the chosen work in particular. What have you selected it? What dimensions and qualities do you find relevant and important in this work? (Along what continua are you placing it?) In what ways does it succeed? In what ways does it fail?

• This response should be from your individual point of view and not from one of your sources.

Due Dates

• 5 Portfolio Images, with context and comments due XX • 5 Additional Portfolio Images due XX • Note: You may edit your entries at any point up until the final due date.

Grading

• Please see grading rubric.


Good Works – Curated Portfolio Grading Rubric

Critical Skills 50 points

1. Basic understanding of the elements that may be considered in qualitative examination, including Formal, Conceptual and Emotional qualities, as demonstrated in online entries (10 pts)

Expression of ones personal opinions beyond a basic expression of preference. Ability to discuss works of art qualitatively. (25 pts)

Diversity and individuality of the student portfolio (15 pts)

2.

Completion of Entries 50 points

10 entries completed (25 pts) Thorough and well-written entries without grammatical mistakes (20 pts) Proper Annotation – MLA (5 pts)

Late completion of the project (subtract 10 points)


Video Art Project

Project Summary:

Working in small groups, students design and create non-narrative works of art using video as a medium.


Culture, Communication, Media, Representation, Power (the power of visual images and narrative, in video in particular)




Project Goals:


Collaborate with classmates to create a work of art using video as a medium

Analyze how narrative permeates art and culture

Appreciate and discuss the use of new technologies to create works of art

Experience the challenges of creating a complex work of art

Solve problems and make decisions that lead to a complete work of art

Student Materials and Resources:

Video Camera, Editing Program, (these are available for lending through Media Services in the Library,) DVD for submitting project.

Faculty Materials and Resources:


Video clips demonstrating the difference between narrative and non-narrative works, various approaches to the assignment, and different techniques.

Assignment Context:

This project can be introduced at any point after a basic exposure to contemporary art. It is an extremely time consuming project for the students, and should be staggered with midterms and finals.


Lecture Notes

Introduce the idea that art can be made with any material. Discuss contemporary art practices including video art.

Focusing in on video art, show examples of video art, and ask students to discuss what they think the category is/should be/could be. (See partial list of videos below.)

-let’s try to figure out what this is

-a ‘new’ media, artists using this visual format to create works of art.

-what are the elements of the media that the artist can utilize?

-what are some of the conventions of how the material is currently used that artists can use to their advantage, exploit, subvert, etc?

Discuss the challenges of using video as an artistic medium, including the ubiquity of the medium and their familiarity with it. With any new medium, there are many successes and failures.

Invite students to find examples of non-narrative video art through youtube, vimeo and museum resources. Have students post links online. As time allows in future classes, watch some of the videos together and discuss their relevance, successes and failures.

Project Introduction: Non-narrative Video Assignment:

Your challenge is to use video to create a non-narrative work of art. Note that this will be exceedingly difficult, as the medium of video is saturated with conventions of narrative, and you as a person are saturated with narratives as well. Think of this as presenting an image that moves, or an idea or an emotion, perhaps in a poetic form.


Additionally, this may be challenging, because this is not a video course. You will need to acquire all of the skills and resources you need to make the piece, as well as make the piece.

Discuss:

How video art is hard to do well

Why it is so easy to make a bad video

Why a particular video is bad (example Flying From The Ground, codec/x dvd)

Review/brainstorm a few video techniques they might use

Challenges of collaboration

Introduce resources:

Media lab, 3rd floor in the library

You can check out Video Cameras and use Editing Equipment

Media Lab in the Ed Dept.

Use your skill set to your best advantage. As part of this assignment, you may need to develop skills in the use of your medium, including using a video camera, using editing software, and burning your final work to a DVD.

Your video can be simple or complex, but should ideally be sublime (work adds up to more than the sum of it’s parts, gives your viewer an elevated aesthetic experience). Avoid making a commercial, or a music video – these are short video forms with which you are familiar.

It will be helpful to you to plan and create your video in four parts. Please see the assignment description on ASULearn for detail about each of these stages:

Initial Concept

Pre-production

Production

Post-production

Small Group Set up

For next class, you will need to form three person groups. I will assign any stragglers to groups during next class. Email me indicating the members of the group and we’ll sort it out in class.


1. Give them some time to plan in small groups 2. Ask groups to pair up and share/pitch ideas to each other form response 3. Present ideas/questions to whole class/me. 4. Give more group planning time as class allows


Optionally, show ‘Be Kind, Rewind’ clip to prepare for the assignment.

Optional Additional Assignment for the Portfolio – find a good art video, complete all parts

When and why is it worth doing something that you know you are likely to fail?

What are the challenges of making a successful work of art in this situation?

What was your level of investment? Did that change over the course of the project?

What surprised you about making art? (Did you consider this to be ‘Art?’ If so, why, and if not, how did this clarify your definition of art?)


See grading Rubric in Assignment handout.

Important note:

Prior to grading, ask each person to describe their role in the project and the roles of each person following the completion of the project as an online assignment. Use this as an aid in grading each student individually.

Extra Credit Possibility:

Groups may turn in their storyboard for the project.

Student Handouts:


Assignment: Non-narrative Video

For this assignment you will be working in groups of three to create a video art piece.

The subject and content of your work of art are up to your group. As a starting point, you may wish to have your work contemplate:

a strong emotion

a visual event or exercise

a compelling event or question

a vivid memory or dream

obsolete and new technologies

high tech/culture/art and low tech/culture/art

a particular concept: peace, decay, greed, success, envy, heroism, anxiety, etc.

Brainstorm ideas as a group. Don't discard any idea too early; let them all simmer for a while until preferences begins to crystallize. Narrow the field; decide on a subject.

Create and submit a short summary or pitch explaining your idea. DUE: XXX online. Also, bring a copy to class.

Please make an effort not to produce a mini-film or music video. Break the conventions of visual narrative to create a work of video art. The main challenge of this assignment is to use video as an artistic medium. The most difficult part may be getting around your own assumptions about what is possible (as well as planning enough time for editing.)

Your video must be between 1 and 2 minutes long. Whenever possible, try to include only what you need to convey your meaning. Approach this as a poem and not a novel.

Consider pacing, editing, sound, light, props, locations, special effects, etc.

Every decision you make in this piece should reinforce your idea.

Create a title, and credits that present the date and names of everyone who worked on the piece.

Turn in your work on a DVD. Make sure that your DVD will play on the classroom podium computer BEFORE it is due. Unreadable videos will be considered late.


Grading Rubric:

Name: Group members:

Video Project

Conceptual understanding, use of concepts 50 points 3. Understanding of main concepts as shown in written summary

(10 pts)

4. Creative solutions to problems, experimentation in approach (30 pts)

Choice of subject and clarity of intention (5 pts)

5. The creation of a sublime work of art, where the sum of the part add up to something more, creating an elevated aesthetic experience (5 pts)

6. Technical understanding, use of video as an artistic medium

30 Points

Pre-production preparation. (10 pts) Summary, script, shooting plan, as evidenced in the final work

Production (10 pts) Filming, sound, lighting

7. Post-Production (10 pts)

8. Editing 9. Title, Credits, Special Effects, Completeness, 10. Presentation, Polish

Completion of Project, Class Participation 20 points 11. Development of ideas and concepts during the project.

Student has followed instruction, thought out assignment, tried variations (5 pts)

12. Successful collaboration with all members of your group. (5 pts)

13. Note: unbalanced participation will be addressed individually.

14. Critical Skills, ability to evaluate the work of others and self, participation in critique and class discussions (5 pts)

15. Communication Skills, ability to evaluate the work of others and self, participation in critique and class discussion (5 pts)

Turned in on Time? Y N No? drop 10 points


Student Resources:

Digital Media Studio in the Belk Library

http://library.appstate.edu/dms

Shooting Tips from the Knight Digital Media Studio at Berkeley

http://multimedia.journalism.berkeley.edu/tutorials/shooting_tips/


Production Guidelines for Video Project

Pre-production

This is where the battle is won or lost. Before moving on to Production, you need to have a very good idea where you are going.

Brainstorm ideas. Don't discard any idea too early; let them all simmer for a while until preferences begins to crystallize. Narrow the field; decide on a subject.

Create and submit a short summary or pitch explaining your idea.

Pitch the idea for approval. Have the students pitch the idea to another group to receive feedback. Then, have the students write out no more than half a page that distills what they plan to accomplish in a way that will engage an outside viewer.

Create the storyboard

Every time the camera changes, create a new panel

Include notes for filming (music/sound, costumes, location, etc.)

Compose the shot; show roughly what it will look like. Stick figures are fine so long as it shows the framing.

It should have enough information so that somebody else could create the movie you visualize using only what's in your storyboard. Provide sufficient detail.

Optional Tip: You can use a digital still camera (low resolution) to capture a representative frame of each shot that illustrates the framing for the real movie. Bring those stills into the computer and use Comic Life or a storyboard template from Pages to build your storyboard. That can be more accurate and compelling than hand-drawing, making it easier to film.

Write the script

Script Tips

• Remember this is a visual medium, so don't tell the story with words; show • it and use words only to fill in the gaps.


• Include stage directions. Be specific with visual clues that will help when • students create the storyboard and shoot the film. • Include detailed camera instructions (position, angle, type) • Clearly identify who says what. • While creating the script, try to visualize how each bit will materialize.

Before Filming

• Create a shot list to organize and sequence of the shots and help identify the best takes.

• Scout locations (be realistic; consider appropriateness for the project, transportation issues, availability, permission, etc.).

• Gather props, costumes etc. as necessary. Make a list of items used or worn (or incorporate the list into the storyboard) so if you have to re-shoot something they can maintain continuity.

• Develop a schedule for shooting

Production

Here is where you create all of the pieces that will make up the project.

Shooting Tips

• Consider Lighting. Available light? Formal lights? Outdoor Light? Where are windows? Bulbs? Sun? Other sources?

• Consider Sound. Use the best microphones you have access to. Don't use the on-camera mic just because it's easier. If you have no other choice, then get the camera (and therefore the mic) as close to the subject as possible. Always use headphones to monitor the audio so they know what they're getting. Always. If they can, turn off noise makers like air conditioning and computers. Also record one minute or so of Room Tone (how the room sounds when it's silent). You can use that to fill gaps in the dialog later.

• Using your detailed storyboard, film each scene in whatever order makes sense. Sometimes the best order is chronological, but not always.

• Use a slate as the first frame of each shot so you can quickly see later which shot is which.


• Always record 2 or 3 seconds before the good stuff happens and let it run 2 or 3 seconds afterwards. Always leave extra footage before and after.

• Keep a log of shots, marking the best take of each shot (if they know Take 3 was the best of 5, they may need to only capture that take. It will save hard drive space and there will be less to wade through while editing. Making the first frame the slate makes it easy to know which take they're seeing).

• Review the footage periodically to make sure you captured what you thought was captured.

• Pay close attention to whatever you are using for monitoring the picture with (LCD screen, external monitor, viewfinder, etc.). That's what the audience will see. Looking at the "real" setting will lead to poorly composed shots. Watch out for:

– Extra space around actors that is not needed – Microphones or other extraneous items getting into the picture – The composition – Too much headroom above the actors (better too little than too much) – Does it match what was visualized in the storyboard? It's OK to deviate

from that, but do it for a reason.

Post-production

Here is where you transform a series of clips into a sublime work of art.

• Capture the footage onto a single computer. It should be saved to some location on the computer you will edit with.

• Regardless of the editing program, lay out the shots in order. Choose a rough In and Out Point for each clip, but don't worry too much about precision here.

• Record any Voice-overs if they are needed for the project. You can record them with the editing program. If they are recorded on a different computer, make sure you have a way (external hard drive, etc.) to get them to the editing station.

• Lay out Voice-over files where they belong.

• Make sure what is on the Timeline is telling the story you wanted to tell. When you are happy with the basic flow, fine-tune the In- and Out-points so they are perfect. Don't leave a single frame in the project that isn't necessary. Err on the side of leanness. Especially on a short project like this, make every frame count.

• Add additional sound, if that's going to be part of the project.


• Balance the audio levels. First, make sure dialog is at the proper loudness for legibility. Then balance other audio elements so they complement, and don't compete with, the dialog.

• If the editing program supports it, color correct your clips to make them look as good as possible.

• When you are confident that they've got it just about right, add any transitions that may be necessary. In some editing programs, the transition will alter the length of the project; double-check timing after adding transitions. But be aware that transitions are seldom used in "real" movies, and when they are, they serve a purpose, like denoting the passage of time. The cross-dissolve may be the only transition ever needed. Not too many projects call out for spinning stars between cuts. Use these powers for good, not evil!

• Add titles at the front and credits at the back. Be sure to attribute any resources used in the making of the movie (music, images, etc.).

• If you have any Special Effects, put them in now unless they need to be done earlier to create the basic movie (green screen, etc.).

• Output your project as a DVD to turn in. Make sure you create a backup.

Adapted from http://web.mac.com/lgrafton/Site_2/Digital_Community_Challenge_Resources_files/Guidelines%20for%20Developing%20a%20Student%20Video%20Project.pdf


Video Art Resources: This is an Evolving List

Youtube

Vimeo

http://gallery9.walkerart.org/

CODEC/X New British Video & Sound Art 2003 (DVD from Art Dept collection)

Heatwork for Sparklers and Spycams – Lee Patterson and Dave Griffiths

sonic and optical inscription in materials and process

A Road Movie – Nick Jordan

a cinematic construct: made using bicycle, camcorder, and two identified points.

Dictaphone – Joe Devlin

found tape subject to the removal of speech

Object/Sound/Movement – Carl Turton

Formal observation of objects, with sound as percussion and movement as dance.

Flying from the Ground – Jenna Collins and Jane Brake

The airplane viewed from the ground can be a wistful, graceful thing

Rivane Neuenschwander

Inventory of Small Deaths, 2000

tracks the slow progress of a large, single bubble, as it drifts across a tropical landscape. Set on a loop, the film shows the bubble billowing in the wind, shifting shape, but never popping. The climax of the bubble's death is eternally postponed, so that something fleeting is granted permanence.—Ted Mann

Gary Hill

http://www.vimeo.com/5599424

– Soundings

http://www.youtube.com/watch?v=gAmgGh8YmB0&feature=PlayList&p=740CA9B3A4D8866B&playnext=1&playnext_from=PL&index=60


Viewer – screen with a person standing in it, moving slightly but basically a still image, except utterly not.

Matthew Barney (narrative, non-verbal) http://www.pbs.org/art21/artists/barney/index.html

William Kentridge

Journey to the Moon http://www.youtube.com/watch?v=oKOJSEU-SyU

Deterioration http://www.youtube.com/watch?v=zO7-pjHaL-U&feature=related

Video Artists

Nam Jun Paik

Fred Forest?

Wolf Vostell

Vito Acconci

John Baldessari

Peter Campus

Doris Totten Chase

Dan Graham

Joan Jonas

Bruce Nauman

Martha Rosler

William Wegman

Steina and Woody Vasulka

Bill Viola

Matthew Barney

Gary Hill

Sherin Nechat

Eve Sussman

Pippilotti Rist

Tony Oursler


Public Art Proposal

Project Summary:

Respond to a professional Request For Proposals for public art with a written proposal and visual or maquette.


Media, Identity




Project Goals:


Develop a strong central concept using the process of brainstorming.

Express the identity of a community through a Public Art project concept

Present visual concepts through proposal writing and visual/maquette development

Give productive feedback related to the concepts of others

Student Materials and Resources:

Basic supplies for creating the visual or maquette

Assignment Context:

This project can be placed at any point in the semester after the introductory lectures. It works well as a final assignment.



Image Lecture:

Various types of public art throughout history

Basic concepts and controversies involved with public art

Introduce assignment: see handout


(anything optional that could be included)

Public Art tour on Campus

Is public art worthwhile? How much is it worth?

Translation of the local or personal to the global or public


See Rubric in Student Handout

Student Handouts:


Cloud Gate, 2006, by Anish Kapoor

Public Identity: Public Art Proposal

Due XX

Imagine a public work of art and create the winning proposal. Imagine, if you could do anything, what would you do?

Whatever you can imagine, you can propose. There are no budgetary or skill constraints. You can plan to make the work your self, use community volunteers, or hire skilled craftsmen to help you make the work a reality.

Design to your hearts content.

Your only constraint is to design a work of art that creates an identity for the community of your choice.


1. Brainstorm

Begin by deciding on a community location and a theme to narrow your brainstorm.

Example Themes: Trust, Memorial, Non-sequitur, Community, Social Change or Education, a Change in Mood, Play, et cetera.

Imagine a few different possibilities for what you might create.

Bring your rough ideas and sketches for discussion and approval in class Date XX.

2. Concept Letter

Address this 1-2 page letter to the Members of the Selection Committee.

Include the following components in your concept letter:

• Title for the work (this may help viewers understand your intentions, or suggest an alternate meaning)

• Community location (This work can be anywhere in the public sphere. Describe the reason for your choice.)

• Explanation of the concept for the piece (What is the theme of the work? What do you hope the public will get from the project? What is the meaning - or meanings - of the work?)

• Description of the project (what will it look like?) • Description of materials and techniques that will be used to create the

piece. • Persuasive argument for why the selection committee should choose this

project.

3. Maquette and/or Visual (drawings or computer rendering)

Create visuals that will help the selection committee understand your piece. You may create a model, drawings, or computer renderings. Focus on conveying your project idea in a visual manner.

Concept letters and visuals/maquettes are due XX

Bring a copy of your letter and your visuals/maquettes to class. Upload your letter, with a photo of your visual/maquette pasted into the document, to ASULearn.


Name: Public Art Proposal 1. Use of Brainstorming as a method for developing concept (10 pts)

2. Concept Letter (40 pts)

Concept: Creativity, clarity, expressiveness, interaction with/appropriateness of location

Writing: Clarity, Quality of Writing, Persuasiveness

3. Maquette, Drawing (30 pts) Quality of the model, creative use of materials to convey the concept

5. Critical Skills (20 pts)

Ability to evaluate the work of others and self, participation in critique and class discussion Understanding of main lecture concepts as demonstrated in discussions and critique

6. Turned in on Time? Completion of Project Components This project will not be accepted late.

art 2011 curriculum development report final...

Documents