Syllabus: Creative Strategies
Art 1010 Section 02
MWF 1:00p – 2:50p
Karin Hodgin Jones, Visiting Artist
Office: Hunt House 1st floor
Office hours by appointment
Material Expectations: We will be working in a gift, barter and/or fair trade economy. More will be discussed regarding material expectations and means of procuring your materials with the assignment of each project.
Format: Generally each week of the class will follow this format:
M- Slide / video presentation of artists / Discuss readings / written responses due by the beginning of class
W - Discuss projects for the week / assign readings for the following week / assign project for the following week
F – Generally open studio time, however we may have project discussions on these days as needed. This will be decided on
a per/project basis.
The schedule for the class will be altered in response to the community of participants.
Readings: These are some of the subjects and readings we will explore in this course.
Studio (In) Theories and Documents of Contemporary Art Stiles Introduction, In the
Making Weintraub Introduction
Studio (Out) One Place After Another Kwon Intro + Geneaology of Site Specificity
Gallery / museum Inside the White Cube + Studio and Cube: on the relationship between where art is made and
where art is displayed O’Doherty
Material/medium/ The Contingent Object of Contemporary Art Buskirk Introduction
Understanding New Media Theory Mulder Introduction - Remediation
Methodology Logical Conclusions; 40 years of Rule Based Art Excerpt
Everyday Watkins + The Everyday: A Conversation Ross and Serota + Walking in
the Margins Maffesoli
Process artist writings: Nauman, Laderman-Ukeles, Smithson, Donovan, Alys, Creative Capital Grantees
Collaboration Theory of the Derive Guy De Bord + The Poetics of the Derive Kaufman
Relational Aesthetics Nicolas Bourriaud + Social Aesthetics Lars Bang Larsen +From Site to Community in
New Genre Public Art; The Case of “Culture in Action” Kwon
Social Practice The Unsiting of Community Kwon + What We Want is Free Purves +
From Studio to Situation Claire Doherty
Documentation We will look at different ways of documenting your own work and how documentation functions for
artists / exhibitions in a variety of ways.
Readings will be selected based on the needs of the community.
Final Project Personal research projects / self-guided reading for final project
EVALUATION:
Creativity / Critical Inquiry 25%
Reading / Analysis (9 one page reports and an artist report) 25%
EXERCISES (12 exercises and a FINAL PROJECT) 25%
Active Participation / Attendance 25%
Calendar:
Week 1 Studio (in) readings + project 1, working from 1 place, sticky
Week 2 Studio (out) readings + project 2, working in the world, hybrid, parasite or interloper
Week 3 Gallery / Museum readings + Project 3, duplicates (1 for pedestal, 1 for floor)
Week 4 Material / Medium readings + Project 4, Singular forms repeated
Week 5 Project 5, Remediation
Week 6 Methodology readings + Project 6, Rule based project
Week 7 Project 7, Process
Week 8 Project 8, Accretion
Week 9 Collaboration readings + Project 9, Class Collaboration - memory walks
Week 10 Project 10, Protest or subtle subversion (act locally)
Week 11 Social Practice readings + Project 11 TBA
Week 12 Project 12 TBA
Week 13 Artist presentations / Documentation
Week 14 Final Project will be assigned based on the product of the classroom community. Final projects will be an extension of or build upon the strategies addressed in class exercises.
Week 15 Final Project Studio days
Week 16 Final Project critique
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