Info

Items covered on this page: Attendance, Course Materials, Studio Use.

Santiago Sierra, 250 cm line tattooed on six paid people (1999) Havana, Cuba.
Sierra’s work focuses on power structures, often emphasizing the result of systemic oppression and subjugation in society. His work takes on these issues directly, displaying shocking images and performances of exploitation and marginalization. The result of his work often ridicules the art world by employing the most trivial elements as a central figure (as is the case with the “line” in this work).

ATTENDANCE

You are likely a person that is not an art major, or even familiar with art making. If this sounds like you, then don’t worry – the course is written for you. This course will prepare you with skills and knowledge that enable you to select, manage, and produce ideas for an art project. You will get an insight into what the creative process for artists is like, and the different types of work that are required to produce good artwork. To do this, students must be diligent and present. The policy below is written to aid you in achieving your potential in this course.

Please be aware of this code:

  • This course can be demanding on your time;
  • Attendance at every class session is mandatory;
  • 3 unexplained absences equal a failing grade;
  • If you are an athlete or have explanations for absences, you are expected to communicate responsibly with me.
  • While your absence may be excused, please be aware that you will still have to use studio lab hours to complete the week’s required work, to be able to keep up with the other class members, and to remain able to participate in critique.
  • Illness: if you are sick, don’t come to class. Instead, communicate responsibly with me in real-time, by which I mean this: if you try to explain an absence as due to illness a week after the event, you will still be marked as absent unless there is an extenuating circumstance (almost all of which happens to produce documentation)

As this course has a heavy focus on the practical component, the more time you can spend working in the studio, the more rewarding the course will be for you. I would, therefore, encourage you all to try to use the studio hours – times when the room is not booked for classes – this semester. Studio hours will be posted in the first week of the semester; I will make sure that Public Safety has your names listed as authorized to use the studio during evenings, weekends, etc – this will be especially important as mid-terms and end-of-semester deadlines approach.

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STUDIO USE

Josef Beuys Irish Energies 1974, Peat briquette and butter. IMMA, Dublin, EIRE

As a space that has to be able to accommodate the use of a variety of materials, several different classes, and a large number of students, there need to be clear rules surrounding the use of the studio.

We can expect the studio to be ready to use when our classes begin, and we should leave it the same way when we are done for the day.

1. Make sure you clean any durable items you use (such as brushes, palettes, etc) and put them away.
2. Please clean all spillages.
3. Please ensure that any waste paint/ink/etc you put in the sink is drained thoroughly so that the sinks do not clog.
4. NO OIL-BASED LIQUIDS IN SINKS. If you need to use oil-based ink or other materials, please see me.
5. Remember that the studio is an active working environment, so wearing expensive/cherished/delicate clothing and/or shoes is inappropriate. Please wear clothing that can get dirty from ink/paint/charcoal etc. We have a few aprons but they will not protect all of your clothing or shoes.
6. Please do not leave materials or utensils on the tables. Either put them back where you got them or if need be, please dispose of them properly.
7. Please make sure you use the racks and/or shelves in the storage room for your work. Leaving any of your artwork on the tables/walls of the studio means it may disappear or suffer damage.
8. Finally, please be a good citizen, and remember that if you don’t clean it up, someone else will have to.
Please be aware that if I notice that you consistently ignore this aspect of studio use, your participation grade may be affected.

The images of the studio on this page are a guide to the expectations for the cleanliness of the studio.

(image on left) Tables cleared; artwork stored away; garbage thrown away; table surfaces cleaned; tables returned to this roughly rectangular shape (image on right): Sinks empty; paint etc stored; brushes/tools cleaned; all tools and media are put away; garbage thrown away.

COURSE MATERIALS

The Art & Art History department provides a wide selection of materials for your use in this course. These materials are basic supplies and will support most if not all of your needs, at least initially. However, as your ideas develop, you may need to source and acquire some specific items your work requires. For example, one former student needed a man’s suit; another needed to find a way to weld steel. As Studio is NOT a vocational course, there are no materials that are explicitly preferred (whereas if this was, for example, a painting course there would be). This point is important within the course’s design, as it is through this latitude that students can find the right materials to express their ideas.

MANDATORY MATERIALS:


The best place to buy this journal is from Blick Art Materials, which is in Oakland. If you order this online it will take 8-10 days to arrive.


Sketchbook

You will need a sketchbook for this course. You are free to choose the sketchbook you prefer, which must be bought in the first week. You will need it to begin and conduct much of your homework. Please bear in mind that paper quality in sketchbooks is very important if you plan on drawing and painting. The mixed media book in the image is a very good example at a reasonable price. This example is only a suggestion. The type and scale of the sketchbook are up to you. Just remember that paper quality is very important. If you think you will not want to use traditional media, you will still need a sketchbook/journal to plan and develop ideas.

Optional:

The items below are suggestions – you do not have to buy them, and you may not need to use them. As you start to make your own work, you will find that you are drawn to a particular media or way of making. I will be able to help you through the process of settling upon the use of particular materials in the coming weeks, as appropriate.

Specific paper stock:

You may find that you want to use very large paper, colored paper, handmade paper, or grounded papers to work out and/or finalize your ideas in this course. You can buy single sheets of paper (the best quality but the most expensive option) or pads (more economical). There are literally hundreds available; as a rule of thumb, take notice of the weight of the paper – the higher the number (in lbs or gsm), the thicker the paper; however, a heavier paper is not always better. If you are using watercolor, ink, etc, you will need thicker paper (130lb); if you are using the paper to fold, or are drawing with a pencil, you may not. Please consult me if you are unsure.

Non-standard items:

Students taking this course previously have used the full gamut of materials when making their artwork – from cardboard to t-shirts; from clay to mirrors; from make-up to tree seeds. It may well be the case for you that using a non-standard item is necessary. In that case, the students will source the material themselves. This activity is a part of any artist’s project work and will contribute to your final grade. However, it is NOT a requirement; one can still achieve excellent grades with traditional materials provided by the department.

These are just a few examples of materials you might consider. I have a lot of experience with materials and their properties/uses, so please feel free to ask me questions.