Senior Studio Art 11 & 12: Year B

Modules

Exploring Ideas Kyle Jackson says Create Fearlessly: Be flexible, always more than one path Nurture intense curiosity Carry a positive attitiude Use determination + motivation to make high energy work Fearlessness - even the runts of the litter will have their charm.. shotgun approach Have Fun - be light footed (see John Hartman)   Targets for drawings: SEE: Visually, spiritually and/or conceptually. i.e. use hatching to describe form and full value. See inner meaning or connections to place and time, being. CONCEIVE: Choose a lens or process by which to approach your subject. PLAY: experiment, point of view(s), confidence /flow COMPOSE: Eye movement & use of entire frame COMMIT: Consider finish, follow through. See Rubric here	Drawing (observation & conception) We shall practice: dramatic light Form Composition Figure to ground Turning failure and frustration into joy and success. Play, rip, experiment. examine Art Categorically Speaking Warm up with Pushing & Pulling with ink (risks to art)   1. Self in Space, an observational study in line and light Our focus here is on understanding and documenting light. Its behaviour and meaning. We start with the sun. It is the origin of all life. Artists need to observe and understand its nature and meaning. It exposes surface, form, and colour. It has been used to symbolize both heaven and hell.  We will study light and the elements of art in drawing and photography. We will take nothing for granted. It should be enlightening for us all. This is as much about demonstrating growth in your technical skills as much as it is about creativity in composition or meaning.  Attendance in workshops is essential. We will have a series of workshops on drawing and photography. Students will then dive in further on specific techniques and teach others what they learned. Such as ink with pen and brush; charcoal; subtractive drawing; reductive ink work; capturing movement; controlling light in the lens; photo burning (bulb). I teach the basics, you teach the next level.  Observational Drawing: 50% Submit 10 preliminary studies where you examined form, composition, light, materials and meaning.  50% Draw a self portrait on a surface exceeding 20x26".  OR Photography: Interpret and compose a self portrait series.  50% Submit a contact sheet of 100 photos. Keep track of the f-stop, ISO, shutter speed, WB for each.  50% Select and print your top 5 images. Have printed the CLASS BEFORE CRITIQUES. Describe your creative process. What path of curiosity did you follow?
Docs & Crits Essential information on critiquing and documenting art Example by Jeff Friesen, Ghost Train across Canada   Open student examples here	2. Historical Narrative: Reimagine and Construct a visual narrative of a historical event or notion through a comtemporary lens. Conceptual Considerations See Cindy Sherman, Edward Burtynsky and Yasumasa Murimura Kent Monkman aka Miss Chief Eagle Testickle Caravaggio or Jaques Louis David Process (50%) In practice, take a conceptual lens and explore it through various media. Get familiar with the artistic technology and point of view that shaped a particular time and place. Conceptual Lenses Medium Baroque Romanticist / Neo Classical Impressionist Modern (minimalist, abstract) Expressive Feminist Art Cubist Dada Surrealist Drawing Painting Sculpture Photography Printmaking Video Mixed Media In Your Art Journal: DO RESEARCH and record key ideas and techniques in your art journal for each medium and conceptual lense you persue. (SAMPLE ART JOURNAL PAGES) You might start by investigating the art methods, intentions and qualities of an artists from each of expressive, symbolic and observational art. Include thumbnails. See resource. Study techniques through controlled subjects such as zoomed in on mechanical objects, expanded to fill the page such as a dead insect or stone egg on cloth. FInal product (50%) Visual Considerations (and assessment targets): Point of view, angles for intensity. Principles of design, vary your composition. Crop to enhance and effect. look for interest that comes from emphasisng elelemts of art. lighting for drama or illumination. Consider the narrative could be linear or non-linear (hyper-logic) Give a mood, sense of time and place. See Photography approaches for IB Experiment with taking pictures in low light with long exposures.
Expressive Art Frank Auerback Anselm Kiefer Doug Kirton Edvard Munch Henri Matisse Emily Carr Paul Cezanne Claude Monet Edvard Manet Protest art Goya Banksy Diego Rivera Geurilla GIrls War posters Suzy Lake Joyce Weiland	3. Painting (colour /texture): after we have explored a variety of painting media, explore your identity using a mixture of observed and expressive elements. IN Art Journal: colorize site-specific sketches with watercolours painting studies of objects while listening to expressive music. let the music's mood come through in the strokes, surface, and colours work in pure colour, no subject. Just colour, texture and simple shape. Do 3, each in a distinct colour pallet.
Symbolic / conceptual Art   IDEATION PROCESSES Exploration, experimentation, manipulation towards refining an approach to creative inquiry.	Constructing meaning via symbolic or conceptual art. . 4. Collage and mixed media (found mixed with inventive responses) see Marc Chagall Amselm Kiefer Joseph Beuys Barnet Newman, Marc Rothko, Hans Hofmann Marray Openheim MArcell Duchamp Rauschenburg, Activities: David Salle (watch, mine, and respond to this short video on mseterpieces) - rework 2 pages of your sketchbook with this in mind then create a new one. Its all about the journey Watch An Alfred Hitchcock lesson on the Kuleshov effect info:THE KULESHOV EFFECT: Creating Meaning With Editing -mine your own photo collection and make juxtapositions. Share them. 5. Virtues vs sins: explorations in propaganda design IN Art Journal: Investigate hands. hybridize what people do with hands with physical hand gestures considering activities of 5 different cultures. Dig deep. avoid cliches. Find a way to conceptually or aesthetically connect the hands. research & record meaning of significant symbols from three religions
Studio concentrations	Some ideas on how to explore or seek out a concentration Benjamin Runloff's Get Unstuck Concentration brain probes Also see page 62 of Art Works
Art History and Theory Artist Research & Due January 7 Presentations begin	In each term, document investigations on 5 visual artist's work that may infrom your own. (10 total recorded in your Art Journal) see example Investigation Criteria (50 points): The artist should be a significant figure of regional, national or of global significance. Use books and sites. Select artists that comprise of at least one from Nova Scotia, 2 from Canada, and 2 from Non-Western cultures (Multicultural art). The rest are up to you. Include thumbnail sketches of their work discuss what is significant about their work (what others say) Always take it deeper...Write about how their work connects to your art or your interests. Discuss how their work might inform yours. Make thumbnail sketches of what artful ideas you come up with in response to their work, i.e. draw their subjects, use their medium, explore their ideas from your vantage point. Use aesthetic language and be as articulate as you can Identify your sources. Presentation (50 points): At the end of the term, make a 10 slide power point of 5 ideas you got from among your 10 artists studied. Show their work and your ideas. IB Art students: Compare this artist to one other artist's work. ind poitns to contrast and compare that are aesthetic, conceptual, and cultural. **Ensure that one idea actually turns into an artwork!