W60 Screenprint and Activism. This course focuses on a variety of approaches to screenprinting, and includes color, image, and content development. Students also discuss the historical aspects of printmaking and activism, and the conceptual implications of the multiple. Production includes monochromatic and multicolor printing, and students all participate in a print exchange in order to develop an understanding of the printmaking community. Prints in the course are intended to address political, social, moral, and environmental concerns as a means of activism. In particular, students will generate work related to the themes of Wake Up Weekend, a conference dealing with animal rights, health, and global sustainability. We will be taking a number of field trips to local artists’ studios during the interim. Students are evaluated on a portfolio of prints and related drawings. Course fee: $200 includes materials and screen. Prerequisites: Arts 250, Art 153. A. Wolpa. 2:00 p.m. to 5:00 p.m.
W61 Mixed-Media Artist Bookmaking. Although hand made manuscripts predate the printing press and mass production technology dominates contemporary book publishing, during the past decade one-of-a-kind and limited edition books increasingly re-emerge as significant objects and art forms. Major museums dedicate exhibitions to books created by artists, contemporary artist book galleries exist in the art marketplace, and bookmaking has entered the curricula of art and visual studies programs. This course will introduce the artistry of hand made bookmaking, concentrating on the book as aesthetic object. Physical and conceptual elements of the artist book unfold through time and space. Aesthetic problem solving therefore involves organizing conceptual, visual, physical, kinetic, and chronological transitions to unify the whole. Students will engage in conceptualizing content, three-dimensional construction incorporating movement, integration of image and text as visual phenomena, and harmonizing these elements in the execution of visually effective artist books. The study of hand made books of the past such as illustrated manuscripts and the works of contemporary book artists will introduce students to both traditional and innovative materials as well as a broad range of binding techniques. Students will investigate both high and low technologies of reproducing imagery for the purpose of distribution and marketing. Bookmaking will occur both individually and collaboratively. The majority of class time will be spent in studio activity generating a minimum of six artist books. Teaching methodology in addition to studio work will include illustrated lectures, demonstrations, guest presenters, readings, critiques and field trips. Evaluation is based on successful completion of visually effective artist books integrating both form and content; completion of related studio projects, class participation, and a journal documenting process, ideation, and visualization. Prerequisite: Arts 250 or permission of the instructor to best prepare the student for the type of course work required. Course Fee: $150.00 for archival quality studio materials and possibly minimal fees, at cost for off campus transportation. A. Greidanus. 10:30 a.m. to noon and 2:00 p.m. to 5:00 p.m.
W62 Art of Satire: Swift to Stewart. This course surveys the rich offerings of pictorial and textual satire in the Western tradition. While we shall focus on Britain in the eighteenth century when writers and artists such as Jonathan Swift and William Hogarth forged many of the conventions we now take for granted, we shall also look back to previous periods for antecedents (from Juvenal to Cervantes) and forward (from Borat to The Daily Show). Special attention will be paid to the cultural fit of particular works as well as the problem of intentions. What role has satire played in democracies? In what ways does satire subvert or reinforce the status quo at any given moment? How should we distinguish between various kinds of ridicule and raillery? Can satire be productive or only destructive? What makes for effective satire? And do we have to laugh for it to work? Students are expected to develop an historical understanding of satire and to improve their skills in evaluating contemporary satire according to a more sophisticated set of standards than is typically employed. Because of the way in which satire tends to circulate as the stuff of popular culture, there is a tendency to forget that it too must be engaged critically. This course attempts to supply the tools to help students do so. Performance will be evaluated on the basis of class participation, at least two critiques (one of text and one of an image), and a synthetic essay. Prerequisites: Art 153 or ArtH 102 (or instructor’s permission). C. Hanson. 2:00 p.m. to 5:00 p.m.
W80 Negotiating Documentary. Documentary is a record of our world. With the current popular interest in reality television, documentary films, and the ubiquity of the photographic image, we all can feel like experts in documentary. However, documentary images are frequently made and consumed with little regard for how the images construct concepts of what is “real” or “true”. Photography critic David Levi Strauss writes, “When one, anyone, tries to represent someone else, to ‘take their picture’ or ‘tell their story,’ they run headlong into a minefield of real political problems. The first question is: what right have I to represent you? Every photograph of this kind must be a negotiation, a complex act of communication. As with all such acts, the likelihood of success is extremely remote, but does that mean it shouldn’t be attempted?” In this class we will make the attempt, by studying a history of documentary films and photographs, reading theories of photography, analyzing films and photographs, making documentary images, and discussing the moral, relational, spiritual dimensions of contemporary documentary practice. Assignments will include a written paper, daily reading and viewing assignments, in-class critiques, and several photography projects. This course may fulfill an elective requirement in the Art History and Studio Arts majors. Prerequisites: Art 153 or CAS 141. L. VanArragon. 8:30 a.m. to noon.