Schedule 420 Fall 2017

Class meetings are on Mondays, from 1:30 PM to 4:30 PM in Nabit 103 unless otherwise noted. Additional mandatory meetings for presentations and gallery events are also noted below.

Assignments are to be completed outside of formal class time, and prior to the date listed on the schedule. Students, as a group, are expected to fully participate in discussions and critiques resulting from and related to assignments. Schedule subject to change.

Listings in orange are mandatory attendance

Sept 4 — MEET WITH BATTISTA-JENNINGS                                                                  

Discuss: policies, web sites, tools and processes, co-curricular events, and comprehensive exam process.
Discuss Berger and Pasolini (see below)
Critique: new work, 30-minutes each
NOTE: Critique-able new work must be presented at each class meeting with Pradip Malde. Bring new or in-progress work to this class meeting

Read: John Berger, ‘The Chorus in Our Heads’ from Hold Everything Dear and watch the first section of Pasolini, ‘La Rabbia’ (also suggested that you read the liner notes )
Write: After reading Berge and viewing La Rabia, write a 1-page response to the idea that (paraphrasing Kafka) beauty is comfortless. email to Pradip by 1 PM, with subject header: 420 Pasolini
We will discuss this in class.

Sept. 11
Writing about work, what constitutes a written analysis as opposed to a written description. We will consider this with examples.

Critique: new work, 10-minutes each

Discussion of Reading: Christopher Bucklow, ‘Epilogue’, from What is in the Dwat: the universe of Guston’s final decade

Write: 1-page analytical piece about one work by either Christopher Bucklow or Philip Guston

Analytical writing about visual work:

  • Structural: write about the formal aspects of the work; describe the appearance and physical substance of the work in order to establish how the methods inform the experience; avoid emotive terminology
  • Cultural: write about any linkages that arise from your experience of the work and a broader cultural/historic frame of reference
  • Conceptual: bring together the structural and cultural to articulate the expressive nature of the work, to respond to what the work may have a particular expression, or evoke feeling, for instance.
    email to Pradip by 1 PM, with subject header: 420 Bucklow

Sept. 15  Anna Campbell, Artist Talk and Reception. Convocation Hall. 4:30 pm

Sept. 18
Critique: new work, 30-minutes each

Sept. 25
Critique: new work, 30-minutes each
Write: 1-page descriptive piece about one work by Agnes Martin.
email to Pradip by 1 PM, with subject header: 420 Martin

Discussion of all writing, then combine and rewrite and email with jpeg to Pradip by tomorrow, 1 PM

Discussion of reading: Martin, Agnes: Beauty is the Mystery of Life

Sept. 29 Ann-Marie Manker, Artist Talk and Reception. Carlos Gallery. 4:30 pm

Oct. 2
Critique: new work, 30-minutes each

Image assett managemenent, documentation, presentation and public speaking fundamentals.

Critique of one new work.

Oct. 9 —   MEET WITH WOHL                                                                                             

  • Prepare for Midterm Presentations –  See the guidelines below (Oct. 16)
  • Preliminary discussion of Honors Application process
  • Critique: Select three works to present as a way of introducing yourself and your work to Jessica. Edit carefully.

Oct. 16 
Midterm Presentations: Present for 10 minutes on four works, and follow this with 10 minutes for questions and further discussion – Please keep to these times.

Present an analysis of four works completed since the start of this semester. You may refer to other works by you or others as you give a structural, conceptual and expressive  analysis of each work. The presentation will be assessed on how you bring the audience to understand
1. what the work is in terms of its materials and structure;
2. what concepts and ideas are suggested by the combination of materials and structure;
3. what expressive associations are generated by the combination of structure and concept.
The works do not need to be thematically linked. While you should give your presentation using notes, be aware that simply reading out a paper to an audience generally renders an unacceptable result, and can waste a valuable opportunity.


Oct. 25- Wednesday – Follow Monday Schedule 

Due: Reworking of Artist Talk; folding feedback from midterm presentations into the artist talk. Come to class with the Artist Talk, the script of the talk in word doc form on a laptop, or a printed-out hard copy so we can workshop and make edits in class.

  • Preparing for midterm papers
  • 1 new work or series installed in Nabit by beginning of class for individual writing exercise
  • Group writing exercise

Oct. 30
MIDTERM PAPERS DUE. Emailed to all professors by the start of class.

  • Beginning to build a resume
  • Applying for exhibitions

Nov. 6
Critique of NEW WORK for all students: Greg in attendance
Pick up video files of midterm presentation for review

Nov. 10
A Living Tradition: Chinese Ink and Color Paintings from the Berninghausen Collection. Public Lecture and Reception. Convocation Hall. 4:30 pm

Nov. 13 —                                                        MEET WITH POND
Submit written evaluation of midterm presentation via e-mail. Assignment criteria will be provided via e-mail.
Discussion of papers and ThesisGradingRubric criteria. Download the document and evaluate your own writing to submit along with revised thesis paper by December 4.

Nov. 20
Start of class – Honors Applications Due [see application information]
Critique of new work. Review TemplateforThesispapers


Dec. 4
Revised draft of paper due along with evaluation rubric via e-mail.  Bring to a printed copy of both documents to class for review. 

Dec. 11 Final Presentations in class AND from 7-8 pm. 

Dec. 13 Papers are due and contact sheet of all work for ART 420 via e-mail at 5:00 PM to all professors, receipts of exhibition applications submitted to Jessica. 

No Meeting during Final Exam Period