Things we carry, embed into soap

dust
phrases- in relation to capitalism
words like:
       marriage
       mother/whore (sides of the same soap)
       you/me (sides of the same soap)
       time
       hierarchy
colors- in relation to childhood toys
       sand
       pencil shavings
       a wall of neutrals
embed images
       police brutality in the US
       Syrian refugees in Europe

Lennon's "Happy Christmas (War is Over)" plays in the studio

Back and front

Hello dear Tereza,
I'm back online, and can start posting again.
Thank you for continuing the work and conversation even in my absence

With love,
Angela

Questions for the man, An aberration

Questions for the man: 

Is this life working for you?

Why do you strut in this manner?

Wanna take a walk?

Without the facade, can you talk?

What made you this way?

Where does your entitlement come from?

Are you content?

What is the purpose of your day?

What is your purpose?

How far do you see?

How do you see?

Do you see the grass? The ripples on water?

Why do you want to end your life?

On Creativity, David Bohm

Un-defining Creativity

Tereza Mazur

Dr.Vinograde

EdPs 620 Human Development

July 12-16, 2004

Un-defining C r e a t i v i t y

Stretching the Rules We Bind Ourselves With

Sounds of water spraying, birds chirping above, and wind rustling in the trees along with the sound of children playing in the park are just a slight vision of our understanding of creativity.  The air that passes through, in and out of our lungs even when we are not focused on the process is a natural part of our organism making up this magical creation. Many of the activities we do when we are absorbed in the present qualify as part of the creative process: a boy jumping continuously reaching the monkey bars, my hand writing upon this paper.  To become aware of the natural beauty is our only mission and a desperate need if we want to create a different world from this one. Why the pressing urgency?

" Most of us have lost touch with nature. Civilization is tending more and

more toward large cities. We are becoming more and more an urban people, living in crowded apartments and having very little space even to look at the sky of an evening and morning, and therefore we are losing touch with a great deal of beauty" (Krishnamurti, 1983, p.33-34).

            Creativity is.  "But thought in itself is limited, therefore whatever it does is limited" (Krishnamurti, 1983, p.16).  Initially, we act creatively very well, as young infants not acquiring knowledge but simply absorbing it (Gardner, 1993).

Page 1 of 5

Later we come close to this ideal through our potential in the arts, sciences and through

spirituality.  We want to know.  What we are faced with is a vast expanse of the unknown.  We feel a part of this vastness yet at the same time our universe cannot be conceived in our current minds (Krishnamurti, 1983, p.25). Reasoning makes a theory fixed, inflexible and this is not how the universe functions.  It is ever changing, limitless, organic and creative in nature, as are all things within it.  Many of our greatest minds have followed this flow being centered in their nature.  For example, Gardner (1993) states of Einstein,

"Einstein was a man of seeming contradictions: an individual in some ways young, in other ways mature beyond his years; a nonbeliever who spent much time thinking about God; a pacifist who stimulated the production of the most deadly weapon in history; a scientific radical who spent his last years seeking to refute the radical new scientific paradigm; a scientist whose own standards as a theoretician were quintessentially aesthetic; an individual obsessed by the physical world, who pondered timeless matters as well as the concept of time, yet also one who devoted many hours to addressing the mundane problems

that beset the humans of his era" (Gardner, 1993, p.130).

             How do we, like Einstein, get closer to just being and inadvertently knowing, sensing, living our potential?  We have our hints in the child within when we were closest to our natural, pure, fresh selves. When we were not concerned with knowing although we learned more in those years than we do throughout our entire life. Einstein himself declared "that we know all the physics that we will ever need to know by the age of three" (Gardner, 1983, p.89).  The more we learn to be in this absorbed state, naturally,

Page 2 of 5

through the practice of such activities as meditation or even running, the more open we will be to creative energy as it flows throughout the world.

            If the concept of thinking back to the time when we were young does not remind us of our potentialities, we are only to look upon the children around us today.  When working with and around very young children, before our forced structure alters their nature, these young ones shed great light on our tarnished society.  They explore genuinely as well as laugh and cry with all their heart.  And still see the beauty of a flower or a leaf. They can create the most beautiful, peaceful world that we innately have within us.  Too bad we have not yet learned to listen and see children, thinking them smaller and therefore less.  Their potential is hugely undermined.  We set our limits upon their learning in an outlined time frame that often does not correlate with their, or our for that matter, inner creative cycle.

                        "From some points of view education has done its task; looking around us

today, we can see great material gains.  But serious questions can be raised

about how much we have been able to educate beyond the making and consuming of objects. Have we in our educational system really put emphasis upon human values? Or have we been so blinded by the material rewards that we have failed to recognize that the real values of a democracy lie in its most precious good, the individual?" asks Viktor Lowenfeld in the art educator's bible, Creative and Mental Growth, p.3.

            How do we in this society come to adulthood with our artist-self intact? When and how do we loose those childhood ideals and the sight of our infinite potential? And most importantly through rediscovering ourselves is it possible to create something different

for us than our concrete-mechanical jungle?  On these topics I can only speak from

Page 3 of 5

my heart through my own experience.  I entered the art class on a whim my senior year in high school, very late in terms of going on with this career.  I found myself utterly absorbed, and being alone, without my best friend and sister who moved half way around the world, art became a source of support.  I drew from what I knew throughout the next decade or so and this being mostly suffering, I created only that in my work.  Images came from horrors found in newspapers; the process was used as a source of coping.  Sacrificing myself for the pain of others, I thought, was the most love I could give.  In reality it was an escape of the source of pain within myself and a lack of compassion for my own suffering, feeling it relative to everyone else's. This dual thinking made a separation and kept everybody at a distance, seeing everyone as an 'other'.  In Cape Town I glimpsed the rays of everyone's light even through centuries of blockage and restraint.  It is thanks to the process in and of South Africa that I paralleled after listening, converting my pain, healing. I am now free to create the kind of world I want to see.    

             Through my experience of teaching art for the past three years to over twelve hundred youngsters between the ages of five and thirteen, I have been privileged to observe children at play. Through this I conjured up a feeling of pure delight.  With the help of children, I have seen an aspect of my true potential of being a teacher, of being a beautiful human being.  Our children and we need a creative environment to develop in. Their life is too short, as is ours.  Through just this our world can turn into an entirely positive place. Let's support ourselves in this continuous growth!

       Page 4 of 5

Tereza Mazur

Dr.Vinograde

EdPs 620 Human Development

July 12-16, 2004

Un-defining C r e a t i v i t y

Stretching the Rules We Bind Ourselves With

NOTES

Gardner, Howard. Creative minds: An Anatomy of Creativity Seen Through the Lives of Freud, Einstein, Picasso, Stravinsky, Eliot, Graham, and Ghandi. BasicBooks, 1993, 87-131.

Krishnamurti, Jiddu. On Nature and the Environment. Star Publishing, 1983, 33-39.

Krishnamurti, Jiddu and David Bohm. The Future of Humanity: A Conversation. Harper & Row, 1986, 5-51.

Lowenfeld, Viktor and W. Lambert Brittain. Creative and Mental Growth: Fifth Edition. The Macmillan Company, 1970, 1-19.

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Bruised

Capital Cleanse, Bruised, 2015

Cast Soap, Embedded Tape Transfer, Bleeding Ink (left), 2"diameter

Trayvon Martin (Preschool Graduation) Tape Transfer, Bleeding Ink revealed through washing (right), 2 "diameter

In Bruised, I look at the victims of police brutality and their families. I embed their image, printed directly from the internet, within soap. (Please see Capital Cleanse.) The image bruises, stains and cuts right into this soft material which is revealed as participant washes his or her hands. The project was installed at Vermont College of Fine Arts as part of "Art as Advocacy."

Art for Everyone

Soon to be available on PDF for free.
http://www.statesmanjournal.com/story/news/education/2015/10/05/chemeketa-creates-own-version-200-textbook-18/72976042/

Cards Against Brutality

These should be in all High School/College Courses throughout the US.
http://cardsagainstbrutality.com/

A Change Is Gonna Come, (no more barking)

Exquisite Corpse II

What a lovely thought to do this exercise. In terms of dialogue, I found today this video. I love the stillness and have been listening to their voices during today's class. Fascinating conversation and how they relate!

Bark I through V, (A Change is Gonna Come)

and Capital Cleanse at Augusta Savage Gallery this October

https://fac.umass.edu/Online/default.asp?BOparam::WScontent::loadArticle::permalink=ASGCallSub

Century of the Self

The Century of the Self - Part 1 of 4... by

The Century of the Self - Part 2 of 4 - The... by

The Century of the Self - Part 3 of 4 - There... by

The Century of the Self - Part 4 of 4 - Eight... by
What an interesting series!

Roots

Ready for use at On The Ground Floor

http://www.onthegroundfloor.co/roots-installation-view/okeb6zmeexf9oes8o1hpjy4b4hxq7l

Oh, Ani

The question:

     "I want to know if you can see Beauty (Betty) even when it is not pretty every day.
      I want to know if you can live with failure yours and mine and still shout 'yes!'
      It does not interest me how much money you have, I want to know if you can get up after the night of grief and despair weary and bruised  to the bone to feed the children."
     
Her answer:

Post

6/24/15

Dear Tereza,

From today: If you only
have 5 minutes (to be in
studio, to make work),
The first moment is to
reflect, to think about
who you are, what your
intention is, and how
you'd like to be present.
The first full minute.

               xo Angela

7/9/15

Dear Angela,

The postcards were left on the table when I got home. What joy to find the images and your words! There is so much to work with through a postcard and such an exchange- a public viewing of a very private world. (But the exercise could apply to anyone.)

"The first moment is to reflect."

In Seattle I came upon not only my first couple of workshop folders but also my notebooks that went alongside them. I'm working my way through each article and exercise again. Ready to teach this work. (I hope there is a teaching workshop next year.)

"Who you are"

...................................................................................................................................................................
???????????????????????????????????????????????????????????????????????????????????????????....................................................................................................................................................................

"What your intention is"

Anitra's work and life has interwoven in mine again. (The green ink blob with her graphite portrait  is off to a show in Cambridge in August.) They asked for a write up:

What inspired you to make this piece? 

Can you say anything about your grief and healing process while making and completing this piece? 

Who or what is it about? 

A poem or short statement is fine. Some sort of explanation helps viewers have a more in depth response to the work and connect in an universal way to grief and healing.

Please send the writing to me. 

My response:  

Savage Beauty

Darling,

I am so happy for you. A boy amongst all the pretty girls. You'll have to buy him new clothes, no hammy downs! And Will will have a son to play ball with and tinker on the car with. Unless Ali already does that stuff.

Is Ali still a dancer and singer?   I watch "So you think you can dance" and I think of you and remember when you gave me your dancing shoes and sparkly blue outfit. Which I wore just last year!

Are you birthing in water again? This time it'll be easier.I remember the photos of you - so red in the face! I wonder if you will make umbilical chord artwork again.

I gotta go to a group therapy session now...I love you always.

Ani

I was 8 months pregnant with my son the year she emailed the note above, the day before her untimely death. In the series “Awakening,” I reconnect with Anitra Haendel, a very close friend, collaborator and fellow artist who unfortunately took her own life, on July 23^rd 2013. I continue our decade long collaboration. I aim to redefine death, seeing it not as an end, but a point in a continuum. I question our physicality. The investigation gets more and more subtle and the material becomes more and more immaterial in its final form. 

"How to be present"

Thinking about a balanced seesaw arrived at by finding the right spot for each of the participants.

Ani's Gift from First Workshop 2000

with you not here

With you not here, but understanding that distance does not have to stop dialogue,

I find myself asking again- what it is that I truly want?

I need to go now into the practice, deeper.

Understand the reading's implications
as possible alternative structure (like Krishnamurti's On Nature.)

I need to understand I can have roots now and anywhere, even in our nomadic life.

I need to now present what I believe,
live what I know (the strong belief in the unknown.)

I want my kids to flourish,
not in just health and well-being, although that needs to be considered in investing time into the garden, the environment and the food we consume.

But I want to spark their interest and curiosity for nature (not necessarily the thing we call 'nature' somewhere in the woods.)

I want them to be interested in their learning and unlearning.

I want to organize a different way of life, renewable energy, sustainable practice. Looking at the house now; make a clothesline, investigate raising poultry.

Be grateful for what is here.
Be willing to change what is here.

Rereading bell hooks

Advice from Artists on How to Overcome Creative Block, Handle Criticism, and Nurture Your Sense of Self-Worth by Maria Popova

Found this today:

“Inspiration is for amateurs — the rest of us just show up and get to work,” Chuck Close scoffed. “A self-respecting artist must not fold his hands on the pretext that he is not in the mood,” Tchaikovsky admonished. “Show up, show up, show up, and after a while the muse shows up, too,” Isabel Allende urged. But true as this general sentiment may be, it isn’t always an easy or a livable truth — most creative people do get stuck every once in a while, or at the very least hit the OK plateau. What then?

Not too long ago, Alex Cornell rallied some of our time’s most celebrated artists, writers, and designers, and asked them to share their strategies for overcoming creative block. Now comes Creative Block: Advice and Projects from 50 Successful Artists (public library | IndieBound) — a lavishly illustrated compendium at once very similar in spirit and sufficiently different in execution, in which Danielle Krysa, better-known as The Jealous Curator, asks artists from around the world working in various media to crack open the vault of their unconscious and explore the darkest elements of the creative process, from overcoming idea-stagnation to dealing with both self-criticism and external naysayers. In addition to sharing their broader thoughts on the demons and rewards of creativity, each artist also offers one specific block-busting exercise — a “Creative Unblock Project” — to try the next time you feel stuck.

But what makes the project particularly noteworthy is that while it features reflections from visual artists, most of their insights apply just as usefully to other creative endeavors, from writing and to entrepreneurship to, even, science.

One of the recurring themes in dealing with creative block, which a number of the artists articulate, has to do with mastering the right balance between freedom and constraint. Mixed-media artist Trey Speegle puts it perfectly:

You have to set up the narrow parameters that you work in, and then within those, give yourself just enough room to be free and play.

Many artists also emphasize the importance of stepping away from the work when feeling stuck — a strategy that makes sense, given how crucial theunconscious processing stage of the creative process is. Multidisciplinary artistBen Skinner captures this:

I know that forcing something is not going to create anything beyond mediocre, so I step aside and work on a different project until it hits me.

And then there’s the Buddhist-like approach of just letting the block happen rather than resisting it feverishly or grasping after an immediate resolution. Illustrator Ashley Goldberg reflects:

If it is a bigger creative block, I try to ride it out and just let it happen. I will still draw, but most pieces will end up in the trash, and that’s OK. I think some of the biggest bursts of creativity and artistic growth I’ve had are usually preceded by a big creative block.

When asked to contrast the state of creative block with its opposite, most artists describe some version of what psychologists call “flow”. Collage and mixed media artist Anthony Zinonos describes that optimal state: 

And yet this state of “flow” isn’t the same thing as the mythic divine inspiration. Illustrator Sydney Pink captures this perfectly:

The idea of divine inspiration and an aha moment is largely a fantasy. Anything of value comes from hard work and unwavering dedication. If you want to be a good artist you need to look at other artists, make a lot of crappy art, and just keep working.

But the most powerful part deals with the darkest underbelly of the creative life — criticism. Some artists, like painter Amanda Happé, turn a deaf ear to naysayers and focus on satisfying their own soul instead:

It’s one of the most beautiful things about doing this — you don’t have to care. No one gets to have their say and have it stick. No one can wrestle the pencil out of your hand. You get to keep going in absolute defiance.

Ashley Percival puts it even more simply:

You can’t please everyone — people will have art that they like and dislike — the main thing is that you as an artist are happy with your work.

Ceramics artist Mel Robson offers one of the wisest meditations on the subject:

I think it’s important to remember that making art is a process. It is never finished. The occupation itself is one of process, exploration, and experimentation. It is one of questioning and examining. Each thing you make is part of a continuum, and you are always developing. You don’t always get it right, but I find that approaching everything as a work in progress allows you to take the good with the bad. You’re never going to please everyone. Take what you can from criticism, and let go of the rest. When it comes to constructive criticism, I welcome that and think it is important to have people you can discuss your work with who will give you honest and constructive feedback. It’s not always what you want to hear, but that is often exactly what is needed. It can be very confronting, but very useful.

This brings us to the most poignant question: How to unbridle one’s work, whether lauded or criticized, from one’s sense of self-worth. Collage and mixed-media artist Hollie Chastain reflects:

I think as an artist it’s very easy to [equate self-worth with artistic success] because of the nature of the work. If you think of art as a job, then your product is so much more than hours invested. The product is a piece of yourself, so of course if the reception is not the greatest, then it can feel like a direct hit to who you are as a person. I think this happened a lot more when I was younger and still finding my way around. I would doubt my direction when a viewer wasn’t thrilled. The trick for me is not to put more distance between my work and myself, but to close that gap completely. I can see myself in the art that I create, and that builds a wall of confidence.

Illustrator Julia Rothman — who gave us the immeasurably wonderful The Where, the Why, and the How: 75 Artists Illustrate Wondrous Mysteries of Scienceand Drawn In: A Peek into the Inspiring Sketchbooks of 44 Fine Artists, Illustrators, Graphic Designers, and Cartoonists — strips this sentiment down to its bare, most vulnerable essence:

When you put so much of yourself and your time into something, it’s hard to separate it from who you are.

Embroidery and fiber artist Emily Barletta reminds us that soul-satisfaction requires defining our own success:

I make art because the process of making art makes me happy. Being successful with it and doing it for personal fulfillment are separate ideas.

Creative Block. Complement with Brian Eno’s prompts for overcoming creative block, then revisit Bukowski’s bold poetic debunking of the ideal conditions and myths of creativity

Little Children Loving Love, Agnes Martin

Was thinking: what if these were the stripes of the flag?

And the title, Little Children Loving Love, their intended meaning?

http://www.theguardian.com/artanddesign/2015/may/22/agnes-martin-the-artist-mystic-who-disappeared-into-the-desert?CMP=share_btn_fb

(Whether or not you label yourself an artist,) You Are

This Memorial Day I stumbled upon:

I love you very much, take care of yourself, your family, friends, and anyone that crosses your path...

Why do I not feel like an artist anymore?

I haven't felt like an artist for months.
I've heard of writer's block; could it be that I have artist's block?
I don't know - is this what mild depression feels like?

I consulted the I-ching last night, with the question: What is the nature of right now? Why does everything seem so crazy? How is this leading to workshop?

The trigram was:
#20  50. Ting, p. 193 The Cauldron

The second trigram was #2   44. Kou,  p. 170 The Meeting

It was very accurate.

Here are some things I've been working on this week. I feel a lot of pressure to work on things before leaving for workshop. I realize this is self-imposed pressure. I have had mild panic attacks a few times a week for the last few months, and have to seriously talk myself off the proverbial ledge. I don't know what that represents...

And after reading the terrible headlines of Arctic drilling, refugees out at sea that no one wants, and worldwide rampant rape, I'm having trouble finding value in my work or its relevance in relation to all of this. In addition to being very turned off by the art market world - seems like an eternity away from the kind of work I believe in and propose to make...I feel like I'm in the Dark Ages. Maybe I'm in the wrong time, or the wrong location. I don't know why I feel so isolated in my beliefs and interests?

I was working with shifting my perspective slightly, and placing the two slightly different renderings next to each other.

Starting with my son, who never stays still, seemed like a fair place to begin. 

However, how is this idea not just like Roni Horn?

And then there is the following through with the combination of sculpture and painting like I started two years ago. I still don't really know how to continue with that work. I've lost so much connection to myself and my process. I feel lazy. I don't feel like an artist, and my work doesn't really bring me any joy. When I say I'm an artist I feel like I'm lying. The small amount of connections I make, if any, when I'm in studio disappear very quickly when I resume the rest of my life. I know this blog is called art, life no separation, but right now my life feels very separate - very fragmented, with little or no sense of artistic continuity. I feel like a lot of things are separated in my life. I feel separated from my life.

Syllabus (Thanks to Laura Mack's example)

Introduction to Art History/Art Appreciation

Tereza Swanda, Art Instructor

You must understand the whole of life, not just one little part of it. That is why you must read, that is why you must look at the skies, that is why you must sing and dance, and write poems and suffer and understand, for all that is life.

~Jiddu Krishnamurti, Think on These Things

And by the way, everything in life is writable about if you have the outgoing guts to do it, and the imagination to improvise. The worst enemy to creativity is self-doubt.

~Sylvia Plath, The Unabridged Journals of Sylvia Plath

Course objectives

The class will provide an overview of art history from various perspectives. Art Appreciation introduces the importance of art in today’s world and the purposes art has served from prehistoric through modern eras in a variety of cultures both Western and non-Western. We will place art in context of the family, politics, religion, sexuality, social protest and entertainment. We will cover fundamental line, space, perspective, light and color, and practice drawing, painting, sculpture, photography as well as video for some. Progress will be made through exercises, slide lectures, demonstrations, discussions and homework assignments.

Outcomes

Upon successful completion of the course, students should be able to:

1.       To slow down, focus on what is in the moment.

2.       To recognize something, in oneself, from the process of another.

3.       Learn how to read, VISUALLY, when at times we are unable to express it in words.

4.       Learn to analyze and critique not just the art, but social constructs; political, social, economic, THE SELF.

5.       Learn to reconstruct, in a ‘natural’ way.

We will learn basic drawing skills.

We will develop visual literacy, recognizing brushstroke, line, gesture, color and the emotions that are applied to each.

We will see from a broader perspective- Use principles of linear perspective and atmospheric (aerial) perspective and foreshortening in the establishment of an illusionistic 2-D space. Distinguish light from dark in figure/ground relationships.

We will view all media and distinguish formal as well as psychological, ephemeral, political, spiritual elements of each artwork.

The course will enable students to gain an insight into the significance of creativity in its many physical manifestations

We will conceptualize and render light, shadow and volume through appropriate technique and by judgment of value and contrast.

We will distinguish between objective and subjective art.

We will use standard art vocabulary to critically analyze artwork at a fundamental level. 

The goals covered in 'Art Appreciation' are communication, critical thinking & problem solving, society & human behavior, science & technology, aesthetic perspective, historical perspective and information literacy.

Studio Rules

Respect the space and the space of learning. Think in these terms all the rest make perfect sense.

·         The classroom which at times will turn into a studio must be kept clean. This is a shared space. Leave it cleaner and tidier than found.

Suggested Reading

Henry M. Sayre. A World of Art. Pearson Education, Inc. New Jersey, 2013, 2012, 2007.

Howard Zinn. People’s History of the United States. HarperCollins Publishers, NY, 1980, 1995, 1998, 1999, 2003.

Requirements

1.     Participation is mandatory. All students are expected to contribute to classroom discussions and critiques. We learn a lot from each other, and ideas are generated from other ideas. Important components of participation include being on time and adding to the class discussion. A slide show and demonstration occurs at the start of many classes. (Also, check google drive daily as assignments will only be posted online.)

2.     Come to class prepared to work with all necessary supplies. Reminders are on the schedule.

3.     If a class is missed, find out what was missed, and what assignments were due.

4.     Homework is a component of this class. Expect 3-4 hours outside of class per week. Assignments must be complete, presentable, and on time. Extensions will be considered for unusual circumstances, but must be discussed in advance. If an absence happens on a due date, bring the assignment to the next class.

Academic Adjustment

If you feel you may need an academic adjustment for any type of disability, please see me before class.

Evaluation

Receive points for every in-class assignment and homework projects.  Evaluation will be based on the following criteria:

1.       Demonstrated grasp of key concepts, presentation, and creative solutions.

2.       Prompt completion of assignments.

3.       Class participation (see Requirements #1). Extra credit/make-up work is available.

4.       A reasonable sense of effort, wonder, and enthusiasm.

Final grading is based on accumulated points during the term. 90-100 =A, 80-90=B, etc.. Number 4 (above) will determine where you fall when you are hovering between two grades.

The following is an example of a prior grade sheet for this class:

Pts.	Assignment		Assessment criteria
Week 1	1. Identify slide (7)		Research the times and content of the artwork (2) Write about it’s relevance to you (3), How much can you read visually?(2),
	2. Hand gesture, homework (7)		Direction lines (2), Contour(2), Shading and contrast (3)
	3. Reading Krishnamurti (7)		On Love, (How we see) (2), Discussion (5)
Week 2	4. Compare and Contrast Artwork(7)		Analyze 2 pieces of work (2), Identify each (1), What era/eras are they from? (1) How do they relate? (1) What is your interest? From what perspective are you writing? (2)
	5. Zentangle/doodle (7)		Absorption(4), composition (1), variety and quality of line (2)
	6.  Reading excerpts from People’s History (7)		Choose a struggle from History (1), Find and read about it in People’s History of the US (1), Present it in class in connection to an artwork- poster, drawing,  (5)
Week 3	7. Image and text (7)		Look through contemporary media, online, commercials or magazines (2), What is the message?(1), How are the advertisers/politicians portraying that message visually? (1), Who is the audience? (1) How would the image read in a different context, another time? (2)
	8. Collage, Mixed Media (7)		Concept, Message (4), Use of color (2), Use of text (1),
	9. Analyze an artwork that uses image and text – It can be as simple as the title of the work and the artwork (7)		What is the political, social, economic message of the piece? (2) Who is the audience, time and what is its impact? (2) Presentation (3)
Week 4	10. What is color? What is light? (7)		Color wheel, (1) Complements and  neutrals, charts (2) Observing the natural world (4).
	11. Research Impressionists, Rothko (7)		How did various artists think of color? (1), What era did that thinking reflect?(1), Presentation/Discussion (5)
	12. Readings on connections between spirituality, science and art  (7)		Choose an artwork that exemplifies what the Dalai Lama is talking about in the article (2) Present the image and justify the connection (4) Discussion (1)
Week 5	13. Goya’s Humanity (7)		Study the process of one artist (2) How did the process reflect the different developmental stages? (2) What were some conclusions after a lifetime of work, if any? (3)
Week 6	14. Self evaluation (7)		Use of visual vocabulary (2), writing and grammar (2), honest assessment (3)
	15. Final- Trip to the Institute of Contemporary Art  (10)		Discussion (5), Presentation on one artist (3), Sketching (2)
		Absences: After 2 absences, final grade will go down 5 pts for every missed class
		Lates and early departures: Every two count as an absence
	Extra credit			Attend gallery reception (2)
	Total points/grade (108) Includes extra credits

Questions

If you want to know anything, ask. Use my email or see me in person. Please talk to me if experiencing difficulties in the class, if current grade status is needed or if a large amount of absence is expected.

ART APPRECIATION

Materials List, Cost

 $15.00 covers all material

Paper

Drawing paper/sketchbook- your choice but no smaller than 9 x 12 “

Media

Pencils or woodless graphite pencils: 6B (softer pencil), 4B, 2B, HB, 2H (harder pencil)

Pen

Charcoal

Kneaded rubber eraser

Gluestick

Paint

Misc

Masking tape

Magazines

Camera/mobile phone