ࡱ> PRO@ 0Djbjbqq "d=Ml8 L(,  *T~TrTjLV22-2224: Contemporary Issues in Printmaking Fall Semester 2007 Columbia College Chicago Department of Art & Design Columbia College, Chicago 600 Michigan Avenue Chicago, Illinois 60605 Instructor: Dan S. Wang E-mail: danwang@mindspring.com Location: 230A (Print Lab), Second Floor, 623 South Wabash Building Class Hours: Thursdays, 1-4:50 PM Office Hours: By appointment, in the print lab or elsewhere Course Description: From catalogue: Course teaches students basic intaglio and relief printmaking techniques and use of these skills to produce independent work. Students will master skills, experiment with the medium, and think creatively and critically. This class is required for all Fine Arts majors in both the BA and BFA programs in the Art and Design department. The course will deviate some from the above description, depending on factors such as facility loads, availability of materials, and the particular expertise of faculty. Traditional printmaking processes offer artists a range of graphic possibilities. In combination with new methods, technologies, and processes, todays printmaking exemplifies the hybrid pluralism of contemporary art practice, with all its attendant issues. Columbia College Chicago is in the forefront of a number of aesthetic and methodological developments within printmaking and the larger field of contemporary print art. This course will introduce students to the main issues and techniques belonging to this terrain through readings, writing, demonstrations, field trips, discussions, and studio assignments. Students are expected to develop technical and critical facility. Technical facility in this course means planning, executing, and disseminating a printed work, beginning to end. Critical facility means understanding the historical, social, and theoretical context of both the medium and your own projects. In addition to the studio work, reading and writing are an integral part of the contemporary art making process. Students will read several texts addressing a range of issues relevant to the contemporary print artist. The instructor will give basic, fifteen to twenty-minute corresponding lectures. Writing assignments will be explained in detail at the time of assignment. The course is organized as a once-per-week, supervised and extended studio session, augmented by regular lectures, usually given every other week. There may be optional field trips added as exhibitions and events are announced for the Fall season. Content Introduction: Since around the emergence of Hayters Atelier 17 and, later, of the Tamarind Workshop, the traditional manually-produced graphic arts have been grouped under the heading printmaking. Of course, fine artists of all kind have used traditional print media for centuries, and that continues today, probably more than ever before. Therefore, contemporary printmaking is partly defined by the tension between printmaking as a distinct terrain which over time acquired its own discursive and academic space, on the one hand, and the naturally hybrid practice of the contemporary artist, on the other. At the same time, as in all other traditional media, in the last generation the field of printmaking has adopted and/or been invaded by processes from other areas, including but not limited to the recent emergence of digital media. For their part, traditional print processes have leaked into sculptural, performative, and other disciplinary terrain. The result of these never-static dynamics is a field as rich with conceptual potential as with graphic possibility. This course will open the doors to both. Required Texts and Materials: All texts will be provided by instructor. A traditional printmaking lab provides for communal use a great many essential materials such as inks, chemicals, presses, screens, and shared hardware. These materials are covered by your course fees. Because of the efficient management of Columbias lab, students are often provided with some additional personal supplies usually considered consumables, as the overall lab budget allows: wood blocks, intaglio plates, some carving tools. Students are responsible for supplementing these with your own supplies, especially paper. Further details of materials, suppliers, and costs will be provided during the course. Andrea Schumacher is the print studio manager, and she is here to assist with materials and supplies, and, since she possesses a wealth of experience, technical advice. She is not here to clean up after people. Her e-mail address is aschumacher@colum.edu Course Fees: $100.00 Goals and Objectives: Acquire and demonstrate an understanding of contemporary art making practice. Acquire and demonstrate proficiency in relief and screen printing. Gain an understanding of printmaking as a field, as well as of the larger terrain of contemporary art that makes use of print media. Gain familiarity with the ideas associated with print media, new and old. Develop productive research habits and project preparation skills. Understand and test at least two different strategies of dissemination. Develop responsible print shop habits, become familiar with the physical and environmental hazards of conventional print practices. Gain confidence and professionalism in artistic production and presentation. Students are expected to show evidence of their learning through a research journal, a portfolio of their studio production, and/or other pieces of artwork related to contemporary printmaking. Studio Production In this course students will design and execute five discrete projects. While traditional printmaking studio production resulted in a collection of prints housed in a portfolio or flat file, in this class your work may take forms that cross over into photography, object, drawing, painting, performance, or installation art. Therefore, documentation is required of all projects not presentable in the print studio, and must be made available for assessment. Individual prints on paper are best kept in a ring binder with plastic sleeves or in a loose leaf portfolio. All proof prints and research samples should be kept neatly organized for reference and assessment purposes. Contextual and Visual Research Journal Students are expected to maintain a file, in which are kept reflective research materials and course hand-outs. You are very welcome to keep a journal that is more artistic in its format. Journal entries are mostly typed but handwriting is OK if it is legible. You should be able to explain why and how the material accumulated is relevant to your research, and where it comes from. There should be visible evidence of your research material in your finished projects. Common elements of a research journal might include: Ideas for your projects, written and/or sketched. Magazine and newspaper clippings. Journal entries noting lessons learned. Jotted down titles of books, musical groups, films, names of artists. Photocopied articles, hard copies of downloads, web pages, emails. Exhibition catalogues, private view cards, gallery brochures, etc. Written record of your observations relating to printmaking issues. Sample prints and rejected prints. Photographs (art photographs / photographs of print processes / photographs of your prints as they progress / photographs of your studio space, etc.) Other Printmaking Media Options Students will normally follow the below program of study. However, it may be appropriate for some students to focus on other printmaking media options not listed here, such as lithography, intaglio, or digital printmaking. In this case we will endeavour to accommodate these needs and make additional assistance available as required. However, it is crucial that you maintain regular contact with your instructor, attend all progress sessions, and make work available to be assessed as required. Grading and Evaluation: Attendance 10 points First Assessment 15 points Second Assessment 15 points Writing Assignment 15 points Final Assessment 25 points Journal Assessment 20 points --------------------------------------- Total 100 points Assessments will be based on: completeness of studio work portfolio quality of presentation success and/or creativity in dissemination quality and thoughtfulness of written assignment engagement in dialogue quantity and explanation of journal material 100 to 90 points = A 75 to 89 points = B 65 to 74 points = C 50 to 64 points = D below 50 points = F Grading Criteria (+/- grades may also be used): A Studio practice reflects a high level of competence in the use of materials and an appropriate application of working processes and techniques. Work is original and consistent, visually articulate and demonstrates a very solid relationship between content and form. In addition, there is comprehensive documented evidence of a very good understanding of the artistic and/or critical context within which practice is situated. Work presented has been subjected to sustained reflection and critical interrogation, and demonstrates a very high level of professional competence and personal ambition. B Studio work reflects a good level of competence in the use of materials and an appropriate application of working processes and techniques. It is consistent, visually articulate, and demonstrates a coherent relationship between content, form and technique. In addition, there is documented evidence of a good understanding of the artistic and/or critical context within which the work is situated. Work has been the subject of informed analysis, demonstrating a substantial level of professional competence and understanding. C Studio work reflects a satisfactory level of competence in the use of materials and an acceptable application of working processes and techniques. It is reasonably consistent, and the work and its accompanying documentation bear a discernable relationship to each other. The work reflects an understanding of the artistic and/or critical context within which the work is situated. Work presented demonstrates a reasonable level of professional competence and understanding. D Studio work and its accompanying documentation show a lack of rigor, questionable diligence, and a limited application of working processes and techniques. Practice reveals major inconsistencies, limited visual articulation, and a poor relationship between content and form. The work exhibits an acceptably superficial understanding of the artistic and/or critical context within which the work is situated. F Studio practice is erratic or non-existent, and there is an evident lack of commitment and diligence. Work presented for assessment reflects the uninformed and arbitrary use of material, methods, and techniques. There is little or no evidence of a serious attempt to articulate ideas in visual terms. The work reveals a very poor understanding of the relationships between content and form. There is an inadequate understanding of artistic and/or critical contexts, and work presented lacks professional competence. Full credit cannot be granted, in fairness to the students with passing grades. Classroom and Attendance Policies: Class starts on time. Perfect attendance and full participation are expected; students should also engage in ongoing creative practice, research, and self-study. Absences and lateness without excuse will affect your grade; mitigating circumstances may apply if due notice is given. The fourth absence for any reason will result in a failing grade. (Two late arrivals = one absence.) Make sure all required work is available for the scheduled assessment sessions, even if your project is still in progress. No grade can be given if no work is available at the time. (Late assignments will be lowered by one grade.) Adherence to the student code of conduct is required see pages 1-13 of the college student handbook. Week by week schedule and topics: Week (1) Thursday, September 6 Studio tour / Introduction to studio procedures and policies. Review of syllabus. Demonstration: Wood block preparation. In-class writing assignment. Slide Lecture: Chinese printing, Rembrandt, Durer, British satirical prints, Goya, William Blake, Ukiyo-e, Munch, Gauguin, Die Brucke, Kathe Kollwitz, Picasso, Rauschenberg, Warhol. Week (2) Thursday, September 13 Field Trip: Smart Museum of Art, Hyde Park Art Center, Experimental Station Week (3) Thursday, September 20 Reading: Terry Smith, Contemporary Art and Contemporaneity. Lecture: What is the meaning of contemporary? Demonstration: The hand-printed black and white woodcut. Introduction to a print vocabulary. Week (4) Thursday, September 27 Demonstrations: Printing with a press / about inks / about papers. Slide Lecture: Modernist experimental typography, Munakata, Nancy Spero, Warrington Colescott, Kiki Smith, Eric Avery, Richard Mock, Xu Bing. Working period/ Individual consultations. Week (5) Thursday, October 4 Demonstration: Multiple colors with multiple blocks / hand registration. Lecture: Introduction to strategies of dissemination in contemporary practice. Week (6) Thursday, October 11 First assessment/ portfolio and journal review/ tutorials. Week (7) Thursday, October 18 Studio lecture: Introduction to stencilling and screenprinting. Demonstration: Washing, coating, shooting / printing from a screen. Screenprinting studio protocols. Week (8) Thursday, October 25 Tour Anchor Graphics. Work period / individual consultations. Week (9) Thursday, November 1 Demonstration: Multiple color screenprinting and registration. Reading: Nicolas Bourriaud and Andrea Fraser articles. Work period / individual consultations. Week (10) Thursday, November 8 Second assessment. Work period. Week (11) Thursday, November 15 Choice: Group critique or assigned viewing. >> Thanksgiving break << Week (12) Thursday, November 29 Lecture: Posters, spraypaint, photocopy, and signage as dissemination. Demonstration: How to cut a stencil for spraypaint. Week (13) Thursday, December 6 Reading: Claire Bishop, The Social Turn. Lecture: Collaboration, networks, and other new forms of collectivism in art. Project description for final assignment due. Student evaluations. Week (14) Thursday, December 13 Working period/ Individual consultations. Week (15) Thursday, December 20 Final assessment / exhibition of documented dissemination. Conaway Center Statement Students with disabilities are requested to present their Columbia accommodation letters to their instructor at the beginning of the semester so that accommodations can be arranged in a timely manner by the College, the department or the faculty member, as appropriate. Students with disabilities who do not have accommodation letters should visit the office of Services for Students with Disabilities in room 520 of the Congress building (312.344.8134/V or 312.360.0767/TTY). It is incumbent upon the students to know their responsibilities in this regard. Disclaimer Please note that details given in this syllabus are subject to change as the course proceeds. You will be made aware of any changes that may occur. Additional Requirements Students are encouraged to engage in periods of self-study. Please note that all health and safety precautions in the print studio must be followed at all times. Computer skills are an advantage but are not essential for this course. You are encouraged to learn basic skills in image processing software such as Adobe Photoshop and regular use of traditional and / or digital photography are also very welcome. Feedback Any feedback and suggestions on the course are welcome; evaluation will be aided by the use of feedback forms.  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