• Week 1. Basic Drawing Methods, (line, tone, perspective) and materials (intro to materials)
- Introduction to large group, division into smaller groups with course materials
- Structured group conversation occurring with same set of examples
- Materials made available
• Week 2. The Sketch Book/ The Drawing Book/The Journal
The absurd ABC
- Shared staff lecture: examples to go on line
• Week 3. Looking Beyond the Surface
- This class will focus on the art of architecture, engineering, anatomy and botany.
- Paired staff lecture: examples and notes to go on line
• Week 4. Developing Ideas (Drawing, Writing, Numbers, Geometry)
- This class explores the connections able to be made between different systems of notation. Students are expected to overlay different methods of thinking within the drawing space.
- Paired staff lecture: examples and notes to go on line
• Week 5. Group seminar– Feedback
- Involving question and answer between students.
- Also includes the review of Sketch books
• Week 6. Information Collecting, (the camera)
- Document a ‘crime scene’ Think about how you can construct a story out of a particular place/event at a particular time.
- Paired staff lecture: examples and notes to go on line,
• Week 7. Information Handling, (collage, montage, Photoshop.)
- Molecules and Solar Systems, Rhizomes, Trees…a basic discussion of Chaos theory and, as counterpoint, the use of the grid or grids for composing artworks.
- Paired staff lecture: examples and notes to go on line,
• Week 8. Shared Processes
- Students will work in pairs to complete and document a drawing project that engages with shared authorship in a conceptual sense that is reflected in the material decisions made.
- The session will include ‘Blindfold and the Exquisite corpse game
• Week 9. Identifying potential and looking toward resolution
- This class will discuss the resolution of drawing processes considering issues of editing and presentation as well as context-where do drawings work well?
- This session will include an opportunity for course feedback
• Week 10 Group seminar – Feedback
- Involving question and answer between students.
- Also includes the review of Sketch books
Special Note
Please meet at the BLT 100 lecture theatre at 9am on weeks 1, 2, 3, 5, 6, 7,
On other weeks meet working groups in Elam studios at 9 am
Sunday, March 2, 2008
Week 1: Drawing methods
1. Introduction and Outline of Class
• This class will starts from the idea that the activity of drawing involves being responsive to the world. Students will be asked to make at least 3 drawings (each one in a different location) in response to their immediate environment (University) using materials of their choice.
• The 4 drawings should be of subject matter that varies in scale from one drawing to another.
• Priority will be placed on the artist’s ability to problem solve and be selective in relation to their subject
• Media may vary but should provide evidence of a student’s consideration of its physical properties. This includes thinking about the kind of marks their drawing instrument makes, the scale of these marks and effect of their chosen material on the process of drawing.
• Students will present their 3 drawings on the wall at the beginning of session 2. Notes should also be made (in your journal/ sketchbook, or on the drawings itself) which will allow you to briefly explain your thinking to their group
2. Class Aims
• Students will have explored a range of media through the process of drawing.
• An environment will have been explored, (the immediate university grounds)
• Students will engage with drawing as process of close observation
• Students will explore scale through drawing
3. Independent Study, (Description of task)
• Students will continue to draw but this time they will vary the materials they use (both that which makes marks and that which you draw on).
• This process will result in a further three drawings which must demonstrate experimentation and risk-taking with the materials you are using. Your tutor will discuss with you ways in which you might do this.
4. Intended Student Learning Outcomes of the Course (objectives)
By the end of the session students will:
• Be able to recognise and demonstrate a wide range of drawing techniques/styles and methods.
• Demonstrate an ability to make informed decisions based on awareness of wide ranges of procedures.
• Use drawing as a means to develop and research ideas.
4. Relevant Bibliography
• Go to links on class blog: http://drawing103.blogspot.com/
session contact- j.speers@auckland.ac.nz
Week 2 The sketch book/ drawing book/ the journal
1. Introduction and Outline of Class
Absurd ABC
• ABC’s are interesting cultural artefacts, that reflect the values and concerns of the culture that they come from. We’d like you to make your own ABC book, using a4 paper folded in half to make a book of as many pages as you wish.
• You may want to make a straight ABC with simply picture of things that start with each letter of the alphabet or you might want to use it to write a dictionary of critical terms that relate to you art practice, or something in between. Either way it is important that it is not just a normal ABC for kids, rather it should be your ABC. Make it a peculiar and particular ABC, that reflects your engagement with the world as well as your response to the process of drawing.
• You will need to research to generate or collect the words and images that you are going to use. You may use any medium or technique to produce your ABC, including, things like collage, drawing, or using computers to produce images or typography.
2. Class Aims
• Introduces the idea of working in book form
• Encourages student to collect together information useful for their own practice, including critical terms
• An introduction into systems of value and the act of drawing/producing art as a way of translating and creating value.
• Introduces the notion of the absurd as an artistic tool
3. Independent Study, (Description of task)
• Finish your ABC book by the following class.
4. Intended Student Learning Outcomes of the Course (objectives)
By the end of the session students will:
• Be familiar with and critically engage in the discourse surrounding drawing at an introductory level.
• Have developed a studio practice, which incorporates acquisitive, open-ended and self-reflexive learning.
• Be familiar with the principle of a self-directed practice at a basic level
5. Relevant Bibliography
• Paul Noble
• David Shrigley
• Dr Seuss
• Formless a User’s Guide
• Vitamin D
• Grays Anatomy
• Ubuweb(for links to the historical absurd)
• Surrealist drawings
• Bibliography for library and net reference
session contacts- dan@naturalselection.org.nz, johnwardknox@gmail.com
Absurd ABC
• ABC’s are interesting cultural artefacts, that reflect the values and concerns of the culture that they come from. We’d like you to make your own ABC book, using a4 paper folded in half to make a book of as many pages as you wish.
• You may want to make a straight ABC with simply picture of things that start with each letter of the alphabet or you might want to use it to write a dictionary of critical terms that relate to you art practice, or something in between. Either way it is important that it is not just a normal ABC for kids, rather it should be your ABC. Make it a peculiar and particular ABC, that reflects your engagement with the world as well as your response to the process of drawing.
• You will need to research to generate or collect the words and images that you are going to use. You may use any medium or technique to produce your ABC, including, things like collage, drawing, or using computers to produce images or typography.
2. Class Aims
• Introduces the idea of working in book form
• Encourages student to collect together information useful for their own practice, including critical terms
• An introduction into systems of value and the act of drawing/producing art as a way of translating and creating value.
• Introduces the notion of the absurd as an artistic tool
3. Independent Study, (Description of task)
• Finish your ABC book by the following class.
4. Intended Student Learning Outcomes of the Course (objectives)
By the end of the session students will:
• Be familiar with and critically engage in the discourse surrounding drawing at an introductory level.
• Have developed a studio practice, which incorporates acquisitive, open-ended and self-reflexive learning.
• Be familiar with the principle of a self-directed practice at a basic level
5. Relevant Bibliography
• Paul Noble
• David Shrigley
• Dr Seuss
• Formless a User’s Guide
• Vitamin D
• Grays Anatomy
• Ubuweb(for links to the historical absurd)
• Surrealist drawings
• Bibliography for library and net reference
session contacts- dan@naturalselection.org.nz, johnwardknox@gmail.com
Week 3. Beyond the Surface
Vesalius
Gordon Matta-Clark
1. Introduction and Outline of Project
• This class will focus on the art of architecture, engineering, anatomy and botany.
• In the previous week students will be told to bring to class something that has been dissected or broken apart to reveal some internal structure or mechanism. It is from this that they will make a series of five drawings. There should be enough objects brought to class that they can make five different drawings within the one group.
• The lecture at the beginning of the class will offer suggestions as to how they might approach each drawing and perhaps vary their approach, i.e. an engineers’ drawing is functional, an anatomists drawing is technical.
• There will be a discussion on the historical context for drawings that look beyond the surface: fascination with how things work (anatomy/botany) and social/political underpinnings (i.e. architecture/engineering).
2. Project Aims
• The class will support students learning with regard to the usefulness of technical drawing as a resource for developing ideas and explaining concepts and how these types of drawing are influential in contemporary art.
• Students will learn how small sketchbook plans can be developed into large projects (see Gordon Matta Clark and Frank Gehry).
• Students will get an understanding for how the surface appearance of something (an elephant, a house, a telephone) can become abstracted when the internal structures or mechanisms are revealed.
3. Independent study
• Students will take the five drawings they have done in class and look / think about at how they might abstract them further by combining different elements from each one.
• Students will then do five new drawings using elements of the five they did in class.
4. Intended Student Learning Outcomes of the Course (objectives)
By the end of the course students will:
• Use drawing as a means to develop and research ideas.
• Resolve drawing problems and develop strategies for presenting them.
• Be familiar with and critically engage in the discourse surrounding drawing at an introductory level.
• Be familiar with the principle of a self-directed practice at a basic level
5. Bibliography
Vesalius,
Gray’s Anatomy,
Piranesi,
Gordon Matta-Clark,
Artaud, Goya,
Paul Noble,
Toba Khedoori,
technical books.
session contacts- s.esling@auckland.ac.nz, d.watkins@auckland.ac.nz
Gordon Matta-Clark
1. Introduction and Outline of Project
• This class will focus on the art of architecture, engineering, anatomy and botany.
• In the previous week students will be told to bring to class something that has been dissected or broken apart to reveal some internal structure or mechanism. It is from this that they will make a series of five drawings. There should be enough objects brought to class that they can make five different drawings within the one group.
• The lecture at the beginning of the class will offer suggestions as to how they might approach each drawing and perhaps vary their approach, i.e. an engineers’ drawing is functional, an anatomists drawing is technical.
• There will be a discussion on the historical context for drawings that look beyond the surface: fascination with how things work (anatomy/botany) and social/political underpinnings (i.e. architecture/engineering).
2. Project Aims
• The class will support students learning with regard to the usefulness of technical drawing as a resource for developing ideas and explaining concepts and how these types of drawing are influential in contemporary art.
• Students will learn how small sketchbook plans can be developed into large projects (see Gordon Matta Clark and Frank Gehry).
• Students will get an understanding for how the surface appearance of something (an elephant, a house, a telephone) can become abstracted when the internal structures or mechanisms are revealed.
3. Independent study
• Students will take the five drawings they have done in class and look / think about at how they might abstract them further by combining different elements from each one.
• Students will then do five new drawings using elements of the five they did in class.
4. Intended Student Learning Outcomes of the Course (objectives)
By the end of the course students will:
• Use drawing as a means to develop and research ideas.
• Resolve drawing problems and develop strategies for presenting them.
• Be familiar with and critically engage in the discourse surrounding drawing at an introductory level.
• Be familiar with the principle of a self-directed practice at a basic level
5. Bibliography
Vesalius,
Gray’s Anatomy,
Piranesi,
Gordon Matta-Clark,
Artaud, Goya,
Paul Noble,
Toba Khedoori,
technical books.
session contacts- s.esling@auckland.ac.nz, d.watkins@auckland.ac.nz
Week 4. Developing Ideas (Drawing, Writing, Numbers, Geometry)
1. Introduction and Outline of Class
• This class explores a variety of drawing methodologies that are used to capture information and record activity. These will include spatial measuring, diagrams, and drawing as trace of an event.
• It will also encourage students to make connections between the different methodologies explored in class, with the aim of thinking and working through some of the complexities and paradoxes inherent in the relationship between drawing and the world that it aims to record.
• Students will be required to bring at least 5 different examples of printed visual material (examples include: maps, technical manuals, diagrams, charts and graphs and found imagery) to class
2. Class Aims
• Students will work through some of the following drawing methodologies in response to the material they have brought to class. These methodologies include; mapping, spatial measuring, diagrams, and drawing as the trace of an event.
• Students will also understand the thinking behind these means of representing information and activity.
• They will also experiment with creating drawings that overlay the different methodologies explored, and discuss how this might the affect interpretation of the different information and ideas included in their drawing.
• This session will link with work done in sessions 6 and 7 (information collecting and handling)
3. Independent Study, (Description of task)
• Working from the drawings done in class students will generate new drawings that use some technological process, (i.e. photocopying, rubbings, Photoshop, print transfer etc) this process should be relevant to, or in some way activate the original subject matter.
• Before embarking on their drawings, students should research into some of the following artists, making a note of their methods of recording information and how this process of info-recording affects the original information: Michael Stephenson, Brunelleschi, Ed Ruscha, Lu Hao, Louise Lawler, Kateřina Šedá, Richard Hamilton, Colin McCahon, Bily Apple.
4. Intended Student Learning Outcomes of the Course (objectives)
By the end of the course students will:
• Be able to recognise and demonstrate a wide range of drawing techniques/styles and methods.
• Demonstrate an ability to make informed decisions based on awareness of wide ranges of procedures.
• Use drawing as a means to develop and research ideas.
• Have developed a studio practice, which incorporates acquisitive, open-ended and self-reflexive learning.
5. Relevant Bibliography
• Cole, Perspective: A visual guide to the theory and techniques from the Renaissance to Pop Art, Dorling Kindersley, Inc., New York, 1992.
• J. Dauber, Mc Murray University, The art of Renaissance science. http://www.mcm.edu/academic/galileo/ars/arshtml/arch1.html
• R. Smith, An introduction to perspective, Dorling Kindersley Ltd., -1st American ed. (The DK Art School), London, 1995.
• Edward Tufte, Beautiful Evidence, Graphic Press LLC, 2006
• Perspektiva conference links. http://www.c3.hu/perspektiva/dokumentumokframeen.html
Artist Links
• Lu Hao Documenta page
http://www.documenta12.de/uebersichtsdetails.html?L=1&gk=B&level=&knr=34
• Louise Lawler Documenta page
http://www.documenta12.de/uebersichtsdetails.html?L=1&gk=B&level=&knr=31
• Kateřina Šedá Documenta page
http://www.documenta12.de/uebersichtsdetails.html?gk=B&level=0&knr=47&L=1
• Edward Ruscha
http://en.wikipedia.org/wiki/Edward_Ruscha
• Michael Stephenson Gallery page, (Call Me Immendorff 2002 installation detail)
http://www.hamishmckaygallery.com/artist_home.php?artist=Michael%20Stevenson#
• Richard Hamilton
http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=1244&page=1
http://www.moma.org/collection/browse_results.php?criteria=O:AD:E:2481&page_number=1&template_id=6&sort_order=1
• Colin McCahon
http://www.mccahon.co.nz/
• Billy Apple
http://www.art-newzealand.com/Issues11to20/apple20.htm
session contacts- j.speers@auckland.ac.nz, s.ingram@auckland.ac.nz
• This class explores a variety of drawing methodologies that are used to capture information and record activity. These will include spatial measuring, diagrams, and drawing as trace of an event.
• It will also encourage students to make connections between the different methodologies explored in class, with the aim of thinking and working through some of the complexities and paradoxes inherent in the relationship between drawing and the world that it aims to record.
• Students will be required to bring at least 5 different examples of printed visual material (examples include: maps, technical manuals, diagrams, charts and graphs and found imagery) to class
2. Class Aims
• Students will work through some of the following drawing methodologies in response to the material they have brought to class. These methodologies include; mapping, spatial measuring, diagrams, and drawing as the trace of an event.
• Students will also understand the thinking behind these means of representing information and activity.
• They will also experiment with creating drawings that overlay the different methodologies explored, and discuss how this might the affect interpretation of the different information and ideas included in their drawing.
• This session will link with work done in sessions 6 and 7 (information collecting and handling)
3. Independent Study, (Description of task)
• Working from the drawings done in class students will generate new drawings that use some technological process, (i.e. photocopying, rubbings, Photoshop, print transfer etc) this process should be relevant to, or in some way activate the original subject matter.
• Before embarking on their drawings, students should research into some of the following artists, making a note of their methods of recording information and how this process of info-recording affects the original information: Michael Stephenson, Brunelleschi, Ed Ruscha, Lu Hao, Louise Lawler, Kateřina Šedá, Richard Hamilton, Colin McCahon, Bily Apple.
4. Intended Student Learning Outcomes of the Course (objectives)
By the end of the course students will:
• Be able to recognise and demonstrate a wide range of drawing techniques/styles and methods.
• Demonstrate an ability to make informed decisions based on awareness of wide ranges of procedures.
• Use drawing as a means to develop and research ideas.
• Have developed a studio practice, which incorporates acquisitive, open-ended and self-reflexive learning.
5. Relevant Bibliography
• Cole, Perspective: A visual guide to the theory and techniques from the Renaissance to Pop Art, Dorling Kindersley, Inc., New York, 1992.
• J. Dauber, Mc Murray University, The art of Renaissance science. http://www.mcm.edu/academic/galileo/ars/arshtml/arch1.html
• R. Smith, An introduction to perspective, Dorling Kindersley Ltd., -1st American ed. (The DK Art School), London, 1995.
• Edward Tufte, Beautiful Evidence, Graphic Press LLC, 2006
• Perspektiva conference links. http://www.c3.hu/perspektiva/dokumentumokframeen.html
Artist Links
• Lu Hao Documenta page
http://www.documenta12.de/uebersichtsdetails.html?L=1&gk=B&level=&knr=34
• Louise Lawler Documenta page
http://www.documenta12.de/uebersichtsdetails.html?L=1&gk=B&level=&knr=31
• Kateřina Šedá Documenta page
http://www.documenta12.de/uebersichtsdetails.html?gk=B&level=0&knr=47&L=1
• Edward Ruscha
http://en.wikipedia.org/wiki/Edward_Ruscha
• Michael Stephenson Gallery page, (Call Me Immendorff 2002 installation detail)
http://www.hamishmckaygallery.com/artist_home.php?artist=Michael%20Stevenson#
• Richard Hamilton
http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=1244&page=1
http://www.moma.org/collection/browse_results.php?criteria=O:AD:E:2481&page_number=1&template_id=6&sort_order=1
• Colin McCahon
http://www.mccahon.co.nz/
• Billy Apple
http://www.art-newzealand.com/Issues11to20/apple20.htm
session contacts- j.speers@auckland.ac.nz, s.ingram@auckland.ac.nz
Week 5: Feedback discussion 1
1. Introduction and Outline of Class
• This class aims to provide critical feedback to all students. Each person will be asked questions of their work and will be expected to offer background thinking, process information about their thinking and making processes and thoughts regarding how the work might progress from this point.
• Students are expected to collate the responses to their work in their journal.
• All students are expected to have work ready for discussion and to take an active role in the consideration of work.
• Each discussion of an individual’s work will take between approximately twenty minutes
Discussion/crit process
What do you see? (Description of art) How is what you see put together? (Formal analysis) What does the artist want you to know or feel after seeing this work? (Interpretation) What is your opinion of this work and why do you feel that way? (Informed judgment)
A scanning method works well, also. This is when you ask your students to first direct their attention toward the sensory properties of the artwork. Next, you direct their attention to the formal properties. Thirdly, you discuss the work's expressive qualities. Finally, the technical properties of the artwork are discussed.
2. Class Aims
• Students will become practiced in sharing ideas about their work and taking on the perspectives offered by the group.
• Connections between the work of different students will be made and references exchanged
• Staff, using the assessment criteria particular to this course, will formally respond to the work produced at this point. Each student’s engagement will be a factor assessed in this feedback. This feedback is formative and intended to provide a measure of achievement at this point, half way through the course.
3. Independent Study
• Students are expected to collate the responses to their work in their journal.
4. Intended Student Learning Outcomes of the Course (objectives)
By the end of the session students will:
• Demonstrate an ability to make informed decisions based on awareness of wide ranges of procedures.
• Resolve drawing problems and develop strategies for presenting them.
• Be familiar with and critically engage in the discourse surrounding drawing at an introductory level.
• Have developed a studio practice, which incorporates acquisitive, open-ended and self-reflexive learning.
• Be familiar with the principle of a self-directed practice at a basic level
5. Relevant Bibliography
• Staff may offer additional reading material following or during the discussion process
session contact- Jim Speers j.speers@auckland.ac.nz
• This class aims to provide critical feedback to all students. Each person will be asked questions of their work and will be expected to offer background thinking, process information about their thinking and making processes and thoughts regarding how the work might progress from this point.
• Students are expected to collate the responses to their work in their journal.
• All students are expected to have work ready for discussion and to take an active role in the consideration of work.
• Each discussion of an individual’s work will take between approximately twenty minutes
Discussion/crit process
What do you see? (Description of art) How is what you see put together? (Formal analysis) What does the artist want you to know or feel after seeing this work? (Interpretation) What is your opinion of this work and why do you feel that way? (Informed judgment)
A scanning method works well, also. This is when you ask your students to first direct their attention toward the sensory properties of the artwork. Next, you direct their attention to the formal properties. Thirdly, you discuss the work's expressive qualities. Finally, the technical properties of the artwork are discussed.
2. Class Aims
• Students will become practiced in sharing ideas about their work and taking on the perspectives offered by the group.
• Connections between the work of different students will be made and references exchanged
• Staff, using the assessment criteria particular to this course, will formally respond to the work produced at this point. Each student’s engagement will be a factor assessed in this feedback. This feedback is formative and intended to provide a measure of achievement at this point, half way through the course.
3. Independent Study
• Students are expected to collate the responses to their work in their journal.
4. Intended Student Learning Outcomes of the Course (objectives)
By the end of the session students will:
• Demonstrate an ability to make informed decisions based on awareness of wide ranges of procedures.
• Resolve drawing problems and develop strategies for presenting them.
• Be familiar with and critically engage in the discourse surrounding drawing at an introductory level.
• Have developed a studio practice, which incorporates acquisitive, open-ended and self-reflexive learning.
• Be familiar with the principle of a self-directed practice at a basic level
5. Relevant Bibliography
• Staff may offer additional reading material following or during the discussion process
session contact- Jim Speers j.speers@auckland.ac.nz
Week 6. Information collecting
Adela Legarreta Rivas
Banksy
Gabriel Orozco
1. Introduction and Outline of Project
Symbolic, Iconic and Indexical are terms that describe a relationship between what is represented and the thing that it refers to. Indexical representations are those where the thing that is represented directly causes the form of the representation.
A good example of this is a photograph showing what was in front of the lens at a particular moment. Other examples of indexical representation include footprints, fingerprints and smoke signals.
CSI: Elam
• Using photography you will document a ‘crime scene’. We don’t want to encourage you to break the law, but think about how you can construct a story out of a particular place/event at a particular time. To do this you will be photographing a scene that you have either found, that looks like a crime scene, or else a scene/situation/event you have created.
• Decide on how you are going to construct your scene…whether it is serious or humorous, replicating CSI imagery (i.e. paint spatters for blood) or transgressive interventions (graffiti or assemblages in supermarkets, i.e.: Banksy or Gabriel Orozco). This planning is to be done in class time.
• Make notes, draw diagrams, plan and think about possibilities. Work in small groups (of 4-6) to devise a narrative or narratives and test narratives with others. Is there a collective understanding of what a ‘crime scene’ is? Motivate/dare each other to create an authentic/unusual ‘crime scene.’
• Work on it, and then make a provisional presentation within the last hour of class time (role-play, statement, sketches).
2. Project Aims
• To introduce the concept of indexical representation.
• Dealing with a narrative or narratives in one’s practice and how collective narratives may or may not influence one’s work. Is there agreement/disagreement about what a crime scene looks like? Does placing cat food tins on watermelons constitute a crime? Does it have a narrative?
• Introduce the term ‘transgressive’ into the students’ vocabulary.
• Discuss what the difference is between constructing something and finding something in the world? Think about where to collect relevant information/material to trigger ideas. Look at books on artists mentioned in lecture, look on the website, watch films, watch CSI shows, read a murder-mystery novel, i.e. Looking at popular culture for inspiration.
• Learning to plan a work, research it and present in a variety of media: photos, notes, drawings, and physical evidence. How is this drawing? The class should see that gathering information and thinking in terms of a narrative is as much about drawing as putting pen to paper. It is about developing imaginative thought processes.
3. Independent study
• Use the Internet, library, bookstores, television programs and/or movies for ideas.
• Continue planning before committing to a photo. Print the photograph in some form (i.e. developed or printed on a printer at home or at Elam) and place it within a sketchbook context (either pasted in or kept within the accompanying notes).
• After the photograph is printed, make notes to explain the scene (i.e. document the event). This may be done in a way that mimics a Crime Scene Investigator or it may be done in a way that explains your interpretation/understanding of the ‘crime’ that has taken place (be imaginative with your descriptions but also be prepared to explain it to your classmates). Possibly draw onto the photograph, write about the situation in which it occurred: where, when, how. Think about how it has changed from the initial idea, if at all, and write about how the idea might have changed due to the constraints of time and place.
4. Intended Student Learning Outcomes of the Course (objectives)
By the end of the session students will:
• Be able to recognise and demonstrate a wide range of drawing techniques/styles and methods.
• Demonstrate an ability to make informed decisions based on awareness of wide ranges of procedures.
• Use drawing as a means to develop and research ideas.
• Use drawing as end in itself.
• Resolve drawing problems and develop strategies for presenting them.
5. Bibliography
Gordon Matta-Clark
Maurizio Cattelan
Gabriel Orozco
Alex Bagg
Banksy
Daniel Malone
Yoko Ono
Erwin Wurm
Michael Stevenson
Tacita Dean.
session contacts-dan@naturalselection.org.nz, s.esling@auckland.ac.nz
Banksy
Gabriel Orozco
1. Introduction and Outline of Project
Symbolic, Iconic and Indexical are terms that describe a relationship between what is represented and the thing that it refers to. Indexical representations are those where the thing that is represented directly causes the form of the representation.
A good example of this is a photograph showing what was in front of the lens at a particular moment. Other examples of indexical representation include footprints, fingerprints and smoke signals.
CSI: Elam
• Using photography you will document a ‘crime scene’. We don’t want to encourage you to break the law, but think about how you can construct a story out of a particular place/event at a particular time. To do this you will be photographing a scene that you have either found, that looks like a crime scene, or else a scene/situation/event you have created.
• Decide on how you are going to construct your scene…whether it is serious or humorous, replicating CSI imagery (i.e. paint spatters for blood) or transgressive interventions (graffiti or assemblages in supermarkets, i.e.: Banksy or Gabriel Orozco). This planning is to be done in class time.
• Make notes, draw diagrams, plan and think about possibilities. Work in small groups (of 4-6) to devise a narrative or narratives and test narratives with others. Is there a collective understanding of what a ‘crime scene’ is? Motivate/dare each other to create an authentic/unusual ‘crime scene.’
• Work on it, and then make a provisional presentation within the last hour of class time (role-play, statement, sketches).
2. Project Aims
• To introduce the concept of indexical representation.
• Dealing with a narrative or narratives in one’s practice and how collective narratives may or may not influence one’s work. Is there agreement/disagreement about what a crime scene looks like? Does placing cat food tins on watermelons constitute a crime? Does it have a narrative?
• Introduce the term ‘transgressive’ into the students’ vocabulary.
• Discuss what the difference is between constructing something and finding something in the world? Think about where to collect relevant information/material to trigger ideas. Look at books on artists mentioned in lecture, look on the website, watch films, watch CSI shows, read a murder-mystery novel, i.e. Looking at popular culture for inspiration.
• Learning to plan a work, research it and present in a variety of media: photos, notes, drawings, and physical evidence. How is this drawing? The class should see that gathering information and thinking in terms of a narrative is as much about drawing as putting pen to paper. It is about developing imaginative thought processes.
3. Independent study
• Use the Internet, library, bookstores, television programs and/or movies for ideas.
• Continue planning before committing to a photo. Print the photograph in some form (i.e. developed or printed on a printer at home or at Elam) and place it within a sketchbook context (either pasted in or kept within the accompanying notes).
• After the photograph is printed, make notes to explain the scene (i.e. document the event). This may be done in a way that mimics a Crime Scene Investigator or it may be done in a way that explains your interpretation/understanding of the ‘crime’ that has taken place (be imaginative with your descriptions but also be prepared to explain it to your classmates). Possibly draw onto the photograph, write about the situation in which it occurred: where, when, how. Think about how it has changed from the initial idea, if at all, and write about how the idea might have changed due to the constraints of time and place.
4. Intended Student Learning Outcomes of the Course (objectives)
By the end of the session students will:
• Be able to recognise and demonstrate a wide range of drawing techniques/styles and methods.
• Demonstrate an ability to make informed decisions based on awareness of wide ranges of procedures.
• Use drawing as a means to develop and research ideas.
• Use drawing as end in itself.
• Resolve drawing problems and develop strategies for presenting them.
5. Bibliography
Gordon Matta-Clark
Maurizio Cattelan
Gabriel Orozco
Alex Bagg
Banksy
Daniel Malone
Yoko Ono
Erwin Wurm
Michael Stevenson
Tacita Dean.
session contacts-dan@naturalselection.org.nz, s.esling@auckland.ac.nz
Week 7. Information handling,(collage, montage)
Kurt Schwitters
Peter Madden
1. Introduction and Outline of Project
Molecules and Solar Systems, (micro and macro)
In this class we are looking at the relationship between macro and micro by making a large image created out of smaller image fragments.
• The class will have been instructed to bring found images, photographs and magazines, and anything they can find (and a pair of scissors) in the previous weeks class (they may also wish to bring other materials if they wish: pens, inks, paints). They will be provided with large sheets of paper (and glue) to produce a large collage.
• Molecules and Solar Systems, Rhizomes, Trees…a basic discussion of Chaos theory and, as counterpoint, the use of the grid or grids for composing artworks.
• Students will be encouraged to glue down an image and draw out from it using the lines, colours and textures in the image. They will continue to draw or paint on and around each image (or some may choose to cut and paste only) to ‘grow’ their collage. When and where students choose to stop is up to them.
2. Project Aims
• How do you organize a picture? Colour, line, composition are discussed in terms of rigid structures (grids) and random play (chaos).
• Look at the differences between random and controlled collages /montages. Can you have both?
• Make a big collage! Notice how the interconnection of small images can evolve with the use of lines, colours and textures and how pasted images combine to create large, abstract areas.
• Considering this process for one’s sketchbook: The idea of starting with a found image and then using it to draw out from. Also look at how cutting and pasting images and drawing between them, on them, or around them can be dense or delicate, abstract or representational. Another outcome is learning how to control the use of images and mediums, but also not being too precious with them (i.e. layering and covering when desired).
• Ideally the collages will be finished (to a degree at least) and discussed in the last hour of the class.
3. Independent study
The material produced in class should provide a wide range of possibilities, both in terms of image and idea. From the collages made, students will need to isolate moments of focus, uncertainty, paradox, sense, nonsense, intensity, (the class may want to add more words to this list) and generate 4 new works that bring the chosen moments to some kind of formal resolution.
4. Intended Student Learning Outcomes of the Course (objectives)
By the end of the session students will:
• Be able to recognise and demonstrate a wide range of drawing techniques/styles and methods.
• Use drawing as end in itself.
• Resolve drawing problems and develop strategies for presenting them.
• Have developed a studio practice, which incorporates acquisitive, open-ended and self-reflexive learning.
• Be familiar with the principle of a self-directed practice at a basic level
5. Bibliography
Man ray
Joseph Cornell
Peter Madden
Fred Tomesselli
Maurizio Cattelan,
Urs Fischer
Gordon Matta-Clark
session contacts-dan@naturalselection.org.nz, s.esling@auckland.ac.nz
Peter Madden
1. Introduction and Outline of Project
Molecules and Solar Systems, (micro and macro)
In this class we are looking at the relationship between macro and micro by making a large image created out of smaller image fragments.
• The class will have been instructed to bring found images, photographs and magazines, and anything they can find (and a pair of scissors) in the previous weeks class (they may also wish to bring other materials if they wish: pens, inks, paints). They will be provided with large sheets of paper (and glue) to produce a large collage.
• Molecules and Solar Systems, Rhizomes, Trees…a basic discussion of Chaos theory and, as counterpoint, the use of the grid or grids for composing artworks.
• Students will be encouraged to glue down an image and draw out from it using the lines, colours and textures in the image. They will continue to draw or paint on and around each image (or some may choose to cut and paste only) to ‘grow’ their collage. When and where students choose to stop is up to them.
2. Project Aims
• How do you organize a picture? Colour, line, composition are discussed in terms of rigid structures (grids) and random play (chaos).
• Look at the differences between random and controlled collages /montages. Can you have both?
• Make a big collage! Notice how the interconnection of small images can evolve with the use of lines, colours and textures and how pasted images combine to create large, abstract areas.
• Considering this process for one’s sketchbook: The idea of starting with a found image and then using it to draw out from. Also look at how cutting and pasting images and drawing between them, on them, or around them can be dense or delicate, abstract or representational. Another outcome is learning how to control the use of images and mediums, but also not being too precious with them (i.e. layering and covering when desired).
• Ideally the collages will be finished (to a degree at least) and discussed in the last hour of the class.
3. Independent study
The material produced in class should provide a wide range of possibilities, both in terms of image and idea. From the collages made, students will need to isolate moments of focus, uncertainty, paradox, sense, nonsense, intensity, (the class may want to add more words to this list) and generate 4 new works that bring the chosen moments to some kind of formal resolution.
4. Intended Student Learning Outcomes of the Course (objectives)
By the end of the session students will:
• Be able to recognise and demonstrate a wide range of drawing techniques/styles and methods.
• Use drawing as end in itself.
• Resolve drawing problems and develop strategies for presenting them.
• Have developed a studio practice, which incorporates acquisitive, open-ended and self-reflexive learning.
• Be familiar with the principle of a self-directed practice at a basic level
5. Bibliography
Man ray
Joseph Cornell
Peter Madden
Fred Tomesselli
Maurizio Cattelan,
Urs Fischer
Gordon Matta-Clark
session contacts-dan@naturalselection.org.nz, s.esling@auckland.ac.nz
Week 8: Exquisite Corpse
1. Introduction and Outline of Class
• This class is in two parts. The first is one hour and the second two hours. This is an active class and is more about doing than about analysis/thinking. Both parts of the class are to be drawn on A4 paper in one colour.
• Part 1. Blind fold drawing. Students pair up and take turns wearing a blindfold while their partner describes an object or artwork to them in order that they draw it. Each student will have 2 quick ten-minute sessions enabling him or her to make 2 drawings each. This project emphasises communication skills and teamwork, the describer has the responsibility of carefully and patiently guiding the drawer via language, while the drawer is responsible for listening attentively and feeling their way into the drawing.
• Part 2. ‘Exquisite corpse’ is a paper game in which collections of words or images are collectively assembled to create a shared drawing or writing. Each collaborator adds to a composition in sequence, either by following a language-based rule or by viewing part of the previous drawer’s contribution. Students will come together in a group of 4 to resolve 4 drawings. Students can choose to work in text or in image, what counts is that through the activity of drawing, some shared criteria, method or story will be established in the sequence.
2. Class Aims
• Students will advance drawing skills by responding to content particular to moment-to-moment drawing practices including chance and automatic methods and also collaborative decision-making.
• In addition students will learn about the conceptual impetus behind the transition from artist-as-individual-genius to a mode of contemporary practice, which utilises all available means – including community interaction - to produce art.
3. Independent Study, (Description of task)
• Discover and learn about the cut-up technique of Brion Gysin/William Burroughs or the Exquisite Corpse of André Breton and consider how these methods of ‘distributed authorship’ relate to sampling in hip-hop and electronic music. How do these three examples relate to traditional notions of creativity and originality? In your sketchbook write a list and take clippings of your findings and begin to draw some general conclusions.
• Use the library, the Internet, your music collection to do this task.
4. Intended Student Learning Outcomes of the Course (objectives)
By the end of the session students will:
• Use drawing as a means to develop and research ideas.
• Use drawing as end in itself.
• Be familiar with and critically engage in the discourse surrounding drawing at an introductory level.
• Be familiar with the principle of a self-directed practice at a basic level
4. Relevant Bibliography
• http://en.wikipedia.org/wiki/Exquisite_corpse (overview of exquisite corpse)
• http://www.ubu.com/papers/burroughs_gysin.html (essay on cut ups)
• http://www.ubu.com/film/burroughs_cut.html (film on cut ups)
• Nova Express by William Burroughs
session contacts- s.ingram@auckland.ac.nz johnwardknox@gmail.com
• This class is in two parts. The first is one hour and the second two hours. This is an active class and is more about doing than about analysis/thinking. Both parts of the class are to be drawn on A4 paper in one colour.
• Part 1. Blind fold drawing. Students pair up and take turns wearing a blindfold while their partner describes an object or artwork to them in order that they draw it. Each student will have 2 quick ten-minute sessions enabling him or her to make 2 drawings each. This project emphasises communication skills and teamwork, the describer has the responsibility of carefully and patiently guiding the drawer via language, while the drawer is responsible for listening attentively and feeling their way into the drawing.
• Part 2. ‘Exquisite corpse’ is a paper game in which collections of words or images are collectively assembled to create a shared drawing or writing. Each collaborator adds to a composition in sequence, either by following a language-based rule or by viewing part of the previous drawer’s contribution. Students will come together in a group of 4 to resolve 4 drawings. Students can choose to work in text or in image, what counts is that through the activity of drawing, some shared criteria, method or story will be established in the sequence.
2. Class Aims
• Students will advance drawing skills by responding to content particular to moment-to-moment drawing practices including chance and automatic methods and also collaborative decision-making.
• In addition students will learn about the conceptual impetus behind the transition from artist-as-individual-genius to a mode of contemporary practice, which utilises all available means – including community interaction - to produce art.
3. Independent Study, (Description of task)
• Discover and learn about the cut-up technique of Brion Gysin/William Burroughs or the Exquisite Corpse of André Breton and consider how these methods of ‘distributed authorship’ relate to sampling in hip-hop and electronic music. How do these three examples relate to traditional notions of creativity and originality? In your sketchbook write a list and take clippings of your findings and begin to draw some general conclusions.
• Use the library, the Internet, your music collection to do this task.
4. Intended Student Learning Outcomes of the Course (objectives)
By the end of the session students will:
• Use drawing as a means to develop and research ideas.
• Use drawing as end in itself.
• Be familiar with and critically engage in the discourse surrounding drawing at an introductory level.
• Be familiar with the principle of a self-directed practice at a basic level
4. Relevant Bibliography
• http://en.wikipedia.org/wiki/Exquisite_corpse (overview of exquisite corpse)
• http://www.ubu.com/papers/burroughs_gysin.html (essay on cut ups)
• http://www.ubu.com/film/burroughs_cut.html (film on cut ups)
• Nova Express by William Burroughs
session contacts- s.ingram@auckland.ac.nz johnwardknox@gmail.com
Week 9: Identifying Potential and Resolution
1. Introduction and Outline of Class
• This class will discuss the resolution of drawing processes considering issues of editing and presentation as well as context; where do drawings work well? And what opportunities exist for their transmission to an audience?
• Each working group will break into smaller discussion groups. In these groups students will explore the questions above and also develop a sense of the kind of critical conversation that might be useful in the following week for themselves and those whose work they will be responding to.
2. Class Aims
• An understanding of key issues including: How can a drawing be considered completed? What are the effects of its materials on its meaning? How can I take my drawing and my thinking about drawing further, (and in directions that are interesting to both myself and my audience)?
• The relationship between drawing and its documentation will also be explored
• This session is designed to prepare students for the following weeks crit. By the end of this discussion students will have identified key works from the semester and used feedback from fellow students to assist in the identification of key concerns that characterise the body of work as a whole.
3. Independent Study, (Description of task)
• Students will use their independent studio time to collate their completed course material and update their sketchbook or visual diary.
• When collating work students should remember to show evidence of learning. This includes incorporating experimentation as well as completed outcomes and should involve a demonstration of an active research process that relates to the interests expressed though their work.
• Each student will have complied a short list of conversation starters relating to their own work. What works and how might deficiencies be addressed.
4. Intended Student Learning Outcomes of the Course (objectives)
By the end of the session students will:
• Be able to recognise and demonstrate a wide range of drawing techniques/styles and methods.
• Resolve drawing problems and develop strategies for presenting them.
• Be familiar with and critically engage in the discourse surrounding drawing at an introductory level.
• Have developed a studio practice, which incorporates acquisitive, open-ended and self-reflexive learning.
• Be familiar with the principle of a self-directed practice at a basic level
4. Relevant Bibliography
• Please refer to the assessment criteria for the 103 drawing paper http://elamdrawingcontacts.blogspot.com/
• Note: Course feedback collected at session end, (12.30) Venue TBA
• This class will discuss the resolution of drawing processes considering issues of editing and presentation as well as context; where do drawings work well? And what opportunities exist for their transmission to an audience?
• Each working group will break into smaller discussion groups. In these groups students will explore the questions above and also develop a sense of the kind of critical conversation that might be useful in the following week for themselves and those whose work they will be responding to.
2. Class Aims
• An understanding of key issues including: How can a drawing be considered completed? What are the effects of its materials on its meaning? How can I take my drawing and my thinking about drawing further, (and in directions that are interesting to both myself and my audience)?
• The relationship between drawing and its documentation will also be explored
• This session is designed to prepare students for the following weeks crit. By the end of this discussion students will have identified key works from the semester and used feedback from fellow students to assist in the identification of key concerns that characterise the body of work as a whole.
3. Independent Study, (Description of task)
• Students will use their independent studio time to collate their completed course material and update their sketchbook or visual diary.
• When collating work students should remember to show evidence of learning. This includes incorporating experimentation as well as completed outcomes and should involve a demonstration of an active research process that relates to the interests expressed though their work.
• Each student will have complied a short list of conversation starters relating to their own work. What works and how might deficiencies be addressed.
4. Intended Student Learning Outcomes of the Course (objectives)
By the end of the session students will:
• Be able to recognise and demonstrate a wide range of drawing techniques/styles and methods.
• Resolve drawing problems and develop strategies for presenting them.
• Be familiar with and critically engage in the discourse surrounding drawing at an introductory level.
• Have developed a studio practice, which incorporates acquisitive, open-ended and self-reflexive learning.
• Be familiar with the principle of a self-directed practice at a basic level
4. Relevant Bibliography
• Please refer to the assessment criteria for the 103 drawing paper http://elamdrawingcontacts.blogspot.com/
• Note: Course feedback collected at session end, (12.30) Venue TBA
Week 10: Feedback discussion 2
1. Introduction and Outline of Class
• This class aims to provide critical feedback to all students. Each person will be asked questions of their work and will be expected to offer background thinking, process information and thoughts regarding how the work might progress from this point.
• Students are expected to have a good understanding of their classmates particular interests
• Priority will be placed on the artist’s ideas for resolution
• All students are expected to have prioritised their output and be able to explain this to the group work ready for discussion and to take an active role in the consideration of work.
• Each discussion of an individual’s work will take between approximately twenty minutes
2. Class Aims
• Students will come to conclusions about where the strengths lie in their work and be able to articulate this as well as being adaptive in response to the suggestions of others.
• Connections between the work of different students will be made and references exchanged
3. Independent Study
• Students are expected to collate the responses to their work in their journal.
• Students should, at this level of study be clear about the strengths in their work. The semester’s output needs to be organised accordingly.
4. Intended Student Learning Outcomes of the Course (objectives)
By the end of the session students will:
• Demonstrate an ability to make informed decisions based on awareness of wide ranges of procedures.
• Resolve drawing problems and develop strategies for presenting them.
• Be familiar with and critically engage in the discourse surrounding drawing at an introductory level.
• Have developed a studio practice, which incorporates acquisitive, open-ended and self-reflexive learning.
• Be familiar with the principle of a self-directed practice at a basic level
4. Relevant Bibliography
• Staff may offer additional reading material following or during the discussion process
session contact- j.speers@auckland.ac.nz
• This class aims to provide critical feedback to all students. Each person will be asked questions of their work and will be expected to offer background thinking, process information and thoughts regarding how the work might progress from this point.
• Students are expected to have a good understanding of their classmates particular interests
• Priority will be placed on the artist’s ideas for resolution
• All students are expected to have prioritised their output and be able to explain this to the group work ready for discussion and to take an active role in the consideration of work.
• Each discussion of an individual’s work will take between approximately twenty minutes
2. Class Aims
• Students will come to conclusions about where the strengths lie in their work and be able to articulate this as well as being adaptive in response to the suggestions of others.
• Connections between the work of different students will be made and references exchanged
3. Independent Study
• Students are expected to collate the responses to their work in their journal.
• Students should, at this level of study be clear about the strengths in their work. The semester’s output needs to be organised accordingly.
4. Intended Student Learning Outcomes of the Course (objectives)
By the end of the session students will:
• Demonstrate an ability to make informed decisions based on awareness of wide ranges of procedures.
• Resolve drawing problems and develop strategies for presenting them.
• Be familiar with and critically engage in the discourse surrounding drawing at an introductory level.
• Have developed a studio practice, which incorporates acquisitive, open-ended and self-reflexive learning.
• Be familiar with the principle of a self-directed practice at a basic level
4. Relevant Bibliography
• Staff may offer additional reading material following or during the discussion process
session contact- j.speers@auckland.ac.nz
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