ART105: Intro to Visual Art & Culture

Fall 2014

Professor Garrick Imatani
Email: garrick@lclark.edu
Office: Fields Center 205.B
Office Hours: Tuesday & Thursday 4-5pm or by appointment

Course Description
This course provides hands-on exposure to the working methods of contemporary visual
artists from an interdisciplinary perspective.

The course is split between seminar and studio-based work. In the seminar, students are
introduced to key concepts of late twentieth-century art history and art production through
readings, lectures, screenings, and field trips. Assignments include writing, group discussion
preparation, and presentations. The aim of seminar work is to provide a theoretical and
historical framework to better understand the methods of todays working artists. Students
will also learn key design terms and vocabulary used by artists across disciplines.

In the studio, students are given the chance to apply their knowledge and experiences from
the seminar into short studio-based exercises and longer projects. Projects are typically
introduced through demonstrations or workshops intended to familiarize students with
technical processes and provide room for material experimentation. Completed studio
assignments will be formally presented in a group format that includes critical dialog and
feedback. The aim of studio work is to provide an opportunity for students to explore art as a
form of visual communication and cultural expression that rewards wild, insightful, and
imaginative thinking.

Course Goals and Learning Outcomes
The primary goals of this class are to:
build a common formal and conceptual vocabulary about art and design that is shared by
other artists
introduce concepts and theories of visual culture
build skills in the visualization, composition, and production of work in 2-dimensional, 3-
dimensional, and time-based media
develop skills in the critical looking at, talking about, and writing on artworks
expose students to a range of techniques, working methods, and materials that can be used
toward the creation of expressive works of art

By the end of this course, you should be able to:
articulate various issues and theories addressed by contemporary artists
describe and identify key elements and principles of design
design, plan, and execute artworks in 2-dimensional, 3-dimensional and time-based media
analyze and discuss the effectiveness of artworks in terms of craft, content, and concept
from an introductory perspective

Course Rationale
Art is always a reflection of the times and culture in which it is produced. Knowing the
complex range of theories and dialogues at play within contemporary art is particularly
challenging to the young artist, because they are as vast and varied as contemporary culture
itself. There is no shortage of works that challenge and question traditional notions of
authorship, craft, and creativity that seem fundamental to the most common and historic
understanding of what it means to make and view artwork. Therefore, a primary goal of this
foundation-level course is to establish a common working language - a visual, technical, and
theoretical grammar that will hopefully allow students to better communicate the concerns
and goals within their own work as well as their perceptions about the work of peers and
professionals. Through exposure to a range of materials, techniques, and creative work
processes, this course aims to bridge key historic training methods with contemporary
strategies so that students are introduced to the richness and diversity of the discipline as it
currently exists. By doing so, I hope students will be better equipped to make, appreciate, and
locate artworks within broader cultural dialogs and connective disciplines.

Course Structure & Expectations
Students can expect to learn basic design concepts, vocabulary, and visualization skills useful
for making any 2-dimensional, 3-dimensional, or time-based work. In addition to learning
familiarity with select materials and technical processes, students will be exposed to historical
and theoretical models about media, art, and culture through assigned readings and research,
lectures, and off-campus trips.

Students will create artworks both individually and through collaborative assignments. Part of
this course focuses on developing basic eye, hand, and body coordination; therefore, students
should expect to practice skill-building exercises in class and through preparatory
assignments for larger projects. Students will be expected to apply newly acquired technical
skills from workshops and preparatory assignments into more open-ended, independent
projects that promote creative problem solving, critical thinking, and personal expression.

This course meets twice a week for three hours with a short break in the middle. Attendance
is imperative, along with taking notes on technical demos and slide lectures, and staying
active for the duration of class. As a studio-based course, demand for one-on-one assistance
is high and I cannot repeat assignment instructions or technical demos. Classes and
assignments are paced with the expectation that you will show up on time, ready to work
with the right tools and materials, and have the assigned prep work (drawings, research,
writing, etc.) complete.

The studio environment can be loud and active so please be vocal if you do not have a clear
understanding of what is expected by the following class. Youre encouraged to visit me
during office hours if you have questions. Youre also welcome to email me. I will make every
effort to respond promptly via email; however, my schedule does not always allow a response
before the following class.

Updates or demonstrations often immediately follow the break. Bear in mind that you will be
responsible for any missed announcements or instructions due to tardiness or absence (at the
start, middle or end of class), therefore, make sure you have the contact info of at least one
other student you can call and/or email.

You will be required to keep a sketchbook that records your lecture notes, project ideas, and
research. The sketchbook will be reviewed in class, particularly at the start of new projects,
and will be due at the end of the semester as part of your course grade. You may not always
produce the results you want with your projects, therefore, the sketchbook becomes an
important document and serves as a more complete record of the amount of work youve
put into a project and the class in general.

As this course aims to expose you to contemporary art practice and strategies, you will be
expected to attend select visiting artist/critic talks on campus, as well as current exhibitions
and events off-campus. I fully understand the importance of other commitments such as work
and athletics, however, this is an absolutely critical part of the course that will need your full
commitment. Unless otherwise noted, we will discuss lectures the following day in class and
short write-ups typically accompany these events.

Most projects will be introduced through slide lectures and reading assignments in order to
ground historical and practical/logistical considerations, as well as to spur conceptualization.
Assigned readings are discussed the class after they are distributed (unless otherwise noted).
Typed, double-spaced, 12 pt. font, written responses between 1-2 pages are typically required.

Students will have projects formally reviewed and discussed by the entire class. Projects are
due on the listed day of critique. Late submissions are not accepted! Incomplete or
unresolved projects should still be submitted on the day of critique as revisions are accepted
but late submissions are not. Attendance for the full duration of critique days is critical to
your success in this class. Missing a critique will put your class standing in jeopardy even if
you do not present.

You will be expected to hold on to all of your work in this class and present it in the form of
a final portfolio at the conclusion of the course. If you are uncertain, ask me before throwing
something out. If you need to clear space after a critique, we can discuss proper
documentation or storage options.

In-class exercises such as drawings and models are considered preparatory assignments for
larger projects and should be saved for your final graded portfolio review.

No Cell Phones or Texting. No Instant Messaging. No Social Networking.
No Laptops (unless necessary for work). No exceptions!


Assessment
In order to succeed in this class, you must attend, be prepared, participate (especially
critiques), challenge yourself, and complete all the projects. You must do all of these things
to pass the course. In order to get an A for the course, you must demonstrate excellence in
all of these categories throughout the entire semester as suggested by the rubric below:

Example of an A student:
Attends each class on time and ready to work with any required materials or supplies in
hand, and with any required reading, research, sketches, or writing completed to an excellent
degree.
Actively participates in group discussion and critiques, asks considered questions and
provides thoughtful comments relevant to course material to an excellent degree.
Pushes him/herself to make work that exhibits ambition in scale, conceptualization, and
personal risk-taking to an exceptional degree.
Respects peers by being thoughtful in dialog and in their workspace use and clean up,
actively participates in engaged critique of others work, and promotes a positive attitude.
Shows exceptional effort in studio-based assignments and projects by the amount of time
and energy evidenced by their preparation (sketch book with sketches, research, printouts,
etc.), execution, presentation, and final portfolio.

B: Strong attendance and preparedness, all writing assignments and studio-based work
completed with solid effort, solid and consistent prep work and research evident in
sketchbook and portfolio, good participation in seminar discussion and studio critiques,
above average ambition and risk taking in projects. This student is an overall solid performer,
but does not demonstrate excellent commitment or shows flashes of excellence and average
performance in equal measures.

C: Solid attendance, all writing assignments and studio projects completed but with
inconsistency, participation and prep work via sketchbook and class discussion demonstrate a
lack of serious commitment. This student may demonstrate solid performance but is
inconsistent, lacks consistent rigor in thinking and effort on written assignments and
conceptual prompts, may occasionally exhibit below average participation or daily
performance.

D: Average attendance, all studio projects completed but one or more written assignments
incomplete or missing, inconsistent effort, below average participation and project
consideration as evidenced by sketchbook and portfolio of work. This student is under
performing to ability and often hurt by attendance issues and/or lack of interest.

F: Failure to do meet the standards above.

* If you are ever unsure about your course standing or grading criteria, it is your
responsibility as a student to meet with me and discuss the matter outside of class contact
hours during office hours or by appointment.

Attendance
Attendance is critical to succeed in this course. Role is taken at the beginning of each class.
Coming back late after break or departing early toward the end of class is applied toward
tardiness.

In addition to screenings, lectures, and special events, this course contains studio-based
demonstrations and workshops, therefore, your daily participation is especially important. I
cannot go over missed information due to tardiness or an unexcused absence.

Special events or visiting artist lectures cannot be repeated nor substituted for other events.

The campus health center does not issue medical notes; therefore, you are allowed 2
absences to use at your discretion in the course before your grade is affected. Use these 2
days wisely. Any illness or situation that results in your absence for two consecutive classes
requires immediate notification to the instructor. In all cases, you are responsible for catching
up with the class you miss. Please exchange contact info with at least one classmate in order
to stay informed.

Attendance directly affects your final grade independent of other course requirements and
grading measures. You are allowed 2 absences before your final grade is affected. 25% of
the course missed or 6 absences will result in automatic failure.

Unexcused late arrivals and early departures toward the start, middle, or end of class
negatively impact your grade. Similar to exams, our critique days cannot be missed and any
missed critique will count as a weighted absence.

Absence Policy
2 absences = no penalty
3 absences = final grade dropped 5% points (e.g., 90% becomes 85% or A- to B)
4 or more absences = final grade dropped 10% points (e.g., 85% becomes 75% or C to B)
each absence
6 or more absences = Failure

1 critique absence = 2 absences

2 unexcused late arrivals or early departures = no penalty
3 or more unexcused late arrivals or early departures = 1 absence

Grading Rubric
Reading Prep, Writing Assignments, Discussion Questions, Assigned Research & Presentations: 25%
In-class Exercises, Studio Assignments and Workshops for Larger Projects: 20%
Studio Projects: 40%
Participation, Daily Preparedness, Presence, Meetings, Discussion & Contribution = 10%
Final Portfolio: 5%

Materials (see attached sheet)

Course Content
Some of the artwork shown in slide shows may include explicit material and deal with mature
subject matter. All works shown exists in a historical context or deals with contemporary issues and
practice, and relates to course objectives. If you would like to discuss the material before we view
the work in class please do not hesitate to email me or come by during office hours.

Statement on Academic Integrity
Plagiarism is the act of presenting another persons ideas, research or writings as your own.
The following are some examples of plagiarism, but by no means is it an exhaustive list:
1. Copying another persons actual words without the use of quotation marks and footnotes
attributing the words to their source.
2. Presenting another persons ideas or theories in your own words without acknowledging
the source.
3. Using information that is not common knowledge without acknowledging the source.
4. Failing to acknowledge collaborators on homework and laboratory assignments.
5. Internet plagiarism includes submitting downloaded term papers or parts of term papers,
paraphrasing or copying information from the internet without citing the source, and cutting
and pasting from various sources without proper attribution.

COURSE SCHEDULE
*subject to change

See course site: lcart105.tumblr.com
Password: businessasvisual

It is your responsibility to check the course site regularly before each class and following
classes for any revisions and updates to schedule.


















*Some policies or procedures listed on this syllabus directly reference information put forth
by the school, Art dept. or other faculty syllabi.



Materials
Materials are required to successfully complete exercises and assignments for this class. Highlighted
materials should be purchased immediately and all remaining materials should be purchased by the end
of the 2
nd
week of classes. Recommended materials are ones that most students use consistently
throughout the term and that the Studio Core makes available to all students on a first-come, first-serve
basis for in-class use only. Optional materials are not necessary to complete assignments, but some
students find them helpful to aid in their design. Most materials are available through the bookstore
and all materials are available at Dick Blick in downtown Portland.

Materials fee: $30 payable to Alison Walcott, Administrative Coordinator for Art department

lock for locker
work clothes and/or apron

Cutting
standard X-acto knife (#11) - $2.50
scissors (good quality) - $13.50
Olfa Snap-Off Blade Knife - $6
* recommended: self-healing cutting mat (at least 18 x 24 inches) prices vary
* recommended: metal straightedge (at least 18 inches) - $7

Markmaking
white charcoal pencil - $1
2 pencils (one graphite, one charcoal- medium to hard) - $3
erasers: kneaded, mars white - $1
black technical pen (.25-.5 size, disposable is fine) - $2.25
3-pack of charcoal sticks - $1.50
* optional: 6 compass - $6.25
* optional: 6 protractor - $2

Painting
basic set of brushes (varying set of sizes, veer toward smaller brush sizes for detailed work) - $13

Papers & boards
9 x 12 sketchbook - $8
cardboard - $3/sheet payable to Alison

Adhesives
acid-free glue stick - $1
glue gun (make sure to get a standard or heavy duty size, no minis) - $10
50 pack of 4 glue sticks - $5

Storage
flash drive (available at bookstore, 4GB - $10)
* tackle box - $8

Free shuttle schedule:
http://www.lclark.edu/live/files/6286-shuttle-schedule-201011

Store Locations, Hours & Contact Info:

Dick Blick 1115 NW Glisan, 97209; Tel: 503-223-3724; Hours: M-Sat 9-8, Sun 11-6; www.dickblick.com
*All required materials are available at Dick Blick - bring school ID for discount and be on look out for
start of the semester coupons.

Fred Meyer - 7555 SW Barbur Blvd., 97219; Tel: 503-452-3000; Hours: 7-11 everyday

A-Boy Supply - 7365 SW Barbur Blvd., 97219; Tel: 503-245-0714; Hours: Mon-Sat 8-7, Sun 9-6