ADN 503 Graduate Seminar In Art and Design
COURSE JUSTIFICATION
This course serves as an introduction to the expectations of research and mastery in the visual arts. Along with the first graduate studio, it forms the foundation of the student's conceptual and creative development for the entire graduate program. It will focus on reading and discussion of visual arts methodology, trends, creative process, documentation, critiquing, speaking, and writing about visual concepts. It is the left brain support for all of the ensuing right brain activity which occurs in the studio.
The seminar will address theoretical, historical, and methodological contexts for individual exploration. Reading, discussion, and presentations will emphasize current work and concept development in all art media thus providing students with significant exposure to concepts outside their own medium. Extensive attention will be given to examining ideas sources, process, documentation, critiquing, speaking, and writing about visual concepts. Students should emerge from this experience clear about the expectations placed on their growth and performance in the program and confident about their ability to begin their own research.
ENROLLMENT
None. New course.
NEW RESOURCES REQUIRED
One new faculty member in Art and Design to eliminate impact on undergraduate program. Seminar room will be used in the College.
CONSULTATION WITH OTHER DEPARTMENTS
PROPOSED SYLLABUS
Proposed a syllabus attached.
SYLLABUS
Course: ADN 503 Graduate Seminar In Art and Design
Instructor: Susan Brandeis, 201 A Leazar Hall , 515-3876
Vita Plume, 201C Leazar Hall, 513–4466
Description:
This course serves as an introduction to the expectations of advanced research and mastery in the visual arts. Along with the first graduate studio, it forms the foundation of students’ conceptual and creative development for the entire graduate program. It will focus on reading and discussion of visual arts methodology, trends, creative process, documentation, critiquing, speaking, and writing about visual concepts. It is the left brain support for all of the ensuing right brain activity which occurs in the studio.
The seminar will address theoretical, historical, and methodological contexts for individual exploration. Reading, discussion, and presentations will emphasize current work and concept development in all art media thus providing students with significant exposure to concepts outside their own medium. Extensive attention will be given to examining ideas sources, process, documentation, critiquing, speaking, and writing about visual concepts. Students should emerge from this experience clear about the expectations placed on their growth and performance in the program and confident about their ability to begin their own research.
Learning outcomes:
At the end of the semester students will:
1. Be exposed to a wide variety of methodologies for research in the visual arts .
2. Be aware of current trends in the visual arts .
3. Understand multiple approaches to creative process in the visual arts.
4. Clearly understand the requirements for documentation of creative activity.
5. Be aware of the value of the constructive criticism and ways of using the information to improve the quality of work.
6. Have made a presentation and written about visual concepts.
7. Through discussion and reading have a theoretical, historical , and methodological context for individual exploration .
8. Be aware of concepts in the visual arts beyond personal experience and medium.
9. Understand the expectations placed on individual performance in the program.
10. Gain confidence about ability to undertake personal creative research.
Grading policy:
The course grade will be based on:
50% presentations
30% writing
20% participation in discussion
The university's plus and minus grading system will be used. Pluses and minuses indicate the relative strength of the letter grade. All students in the Master of Art and Design must pass the class with a grade of “B–“ or better.
Other issues impacting the course grade:
Absence: More than 2 unexcused absences will lower your grade. After two, each additional absence will lower your course grade by a letter. University policies will be applied.
Tardiness: Be on time. If you are habitually late, it will lower your grade one step. Please do not ask the instructor to repeat information given that you missed due to tardiness.
Performance: The assumption is that every assignment you complete and submit represents your best effort, and reflects the highest level of your ability to grasp the concept presented. You are always free to do more than is asked.
Missing deadlines: Late projects are discouraged, unless you are sick.
Participation: Your participation in discussions is part of your grade (20%).
Honor Code:
Students will be expected to adhere to the guidelines for academic integrity as outlined in the NC State code of student conduct. Any work you submit in this class must have been conceived of and made by you. Submitting work that was made by someone else, taking someone else's idea, using images or modules developed by someone else, or purchasing objects for submission to fulfill the requirements of a project are all forms of cheating. They will not be tolerated. Please consult the University web site at:
Students with Disabilities:
If you have a disability that may affect your participation in this class, please notify the instructor so that any necessary adjustments can be made. You may also want to contact the NC Statedisability Services for students center regarding campus services at room 2000 Harris Hall or on the web at:
Health and Safety:
As part of your educational experience at the College of Design , you will be expected to participate in classes, field trips, and workshops in locations both on and off campus. You will be expected to fulfill your class assignments using equipment, tools, and machinery belonging to the University and/or your own equipment, tools, and machinery. It is expected that you will use proper care and caution and will assume responsibility for your health and safety.
Course Schedule:
Week 1Visual arts research methods and approaches.
What constitutes research in the visual arts? How is it conducted?
Week 2Creative process
Survey of artists’ processes; examination and articulation of personal creative process.
Week 3Concept and idea sources: documentation, evaluation, abstraction, idea development from the source.
Week 4The Critique: Analyzing, discussing, and evaluating the visual arts
Atmospheres for learning from criticism; structuring the review; framing constructive comments; gathering and using information from critiques.
Week 5Process documentation for artists and designers
Keeping a studio book, sketch book, journal. Relationships of drawing, sketching, reading, looking, and writing.
Week 6Writing about the visual arts: Differences among forms of writing including criticism, review, description, public relations, personal statements of intent, and documentation of process.
Week 7Speaking about the visual arts: gallery talks, conference presentations, visiting artist events, awards receptions, the opening.
Week 8Trends in visual art concepts and ideas
Survey of practicing artists and emerging issues in the visual arts.
Week 9Developing individual sources of inspiration: what influences your visual work?
Week 10Individual oral presentations on influences, sources, and ideas.
Week 11Individual oral presentations on influences, sources, and ideas.
Week 12Writing about personal ideas and intent of the work
Artist statements and philosophical essays
Week 13Writing assignment due.
Discussion of writing assignment.
Week 14Framing a Research project in the visual arts
Finding direction; defining the limits; conducting useful experimentation; setting objectives; goals and deadlines.
Week 15Individual research working outlines.
Week 16 Graduate research process as prototype for professional practice.
Bibliography
• Abram, David, “Spell of the Sensuous,” NY: Vintage Books, 1996.
• Ackerman, Diane, “A Natural History of the Senses,: NY: Random House, 1990.
• Armstrong, Thomas, “7 Kinds of Smart,” NY and London: Penguin, 1993.
• Bachelard, Gaston, “The Poetics of Space,” Boston: Beacon Press, 1969.
• Berger, John, “About Looking,” NY: Pantheon Books, 1980.
• Campbell, Joseph, “The Power of Myth,” NY: Doubleday, 1988.
• Gablik, Suzy, “The Re-Enchantment of Art,” NY and London: Thames and Hudson,
1991.
• Klee, Paul, “The Thinking Eye: Paul Klee Notebooks,” NY: Whittenborn, 1961–73.
• Lippard, Lucy, “Mixed Blessings: New Art in a Multicultural America,” NY: Pantheon,
1990.
• Lippard, Lucy, “Overlay: Contemporary Art and the Art of Prehistory,” NY: Pantheon,
1983.
• Taylor, Joshua C., “Learning to Look: A Handbook for the Visual Arts,” Chicago:
University of Illinois Press, 1957.
• Tuan, Yi–Fu, “Passing Strange and Wonderful: Aesthetics, Nature, and Culture.” NY
and Tokyo: Kodansha International, 1995.
1