3. Installation - Wednesday 6/3 6:30-7:30 -- SARAH
4. Labelmaking - Wednesday 6/3 - type label info for each person in the class, print copies, cut and adhere labels to foamcore (foamcore and adhesive provided during installation) -- PETER
5. Gallery Watch - Friday 6/5 1-2:30 -- ANNA
Project 3 due for critique
INFO RE. UPCOMING SPRING ART + TECHNOLOGY JURIED EXHIBITION
The final project for Art 350 (in lieu of an exam) constitutes submitting a final work to the spring juried showcase of Art + Technology undergraduate and graduate students working in new media, hybrid forms, video, holography, 2D/3D animation/modeling, robotics, sound, digital imaging and web-based works. Working from your own personal artistic interests, you are expected to create a significant artwork, or series of works, presented outside of the computer. The concept of your work should inform the way it is presented. Note: Former projects may be revised and/or re-presented if you wish or you may choose to create something new -- the important thing is that you present something you are proud of.
All work must be dropped off to Haskett Hall Gallery(located on first floor of Haskett Hall: http://www.osu.edu/map/building.php?building=027) between 12:30 and 2:30pm onWednesday June 3rd. If you cannot drop off your work at this time, you will need to arrange to have a friend drop it off no later than 2:30pm. 2-D works should be in a wooden or metal frame wired and ready to hang on a single screw. No foam core with kite string or monfiment taped to the back. No double sided tape. No velcro. Foam core with swiss clips (http://www.dickblick.com/products/swiss-clips/#description) is okay only if the work is behind glass or plexi. Anything more complex to hang than a basic framed image will need to be installed by the student once the show has been arranged (approximately 3:30pm).
The opening will be Thursday June 4th, 5-9pm and is open to the public (invite friends, family, etc). There will also be open hours Friday June 5th, 11:30-4pm. All work must be picked upFriday June 5th between 4-5pm outside the gallery.
Other info:
There will be a few extra-credit opportunities for students wishing to help out with installation, labeling, and clean-up.
Art & Technology is asking each student to contribute $4 (cash only) for the exhibition refreshment fund. Please give this money to your instructor no later than Thursday 5/28 (or directly to Marthe in the Hopkins Hall art office by Monday 6/1).
"Sometimes it is a relief to be told what to do. We are two artists who are trying to come up with new ideas every day. But our most joyful and even profound experiences often come when we are following other people's instructions.... Sometimes it seems like the moment we let go of trying to be original, we actually feel something new -- which was the whole point of being artists in the first place. With this revelation in mind we founded the website Learning To Love You More in 2002. Visitors to the website are invited to accept an assignment, complete it by following the instructions, and send in the required report (photograph, text, video, etc.).... Five years later there are more than five thousand reports on the site."
Harrell Fletcher & Miranda July -- May 2007
Herman de Vries, the Dutch artist, philosopher, and poet, is a collector of natural things--things of a kind. Since 1970 he has been exhibiting collections--shells, flowers, leaves, branches, herbs and varieties of earth. De Vries has a collection of more than 2400 samples of earth. They are laid out according to criteria of similarity and difference, but not within rigid categories.
Jason Salavon - visualization artworks mapping popular culture, using sources such as multiple yearbook images, playboy centerfolds and movie frames to make singular images.
Komar & Melamid - images become the maps or "final reports" of research
Andrew Kuo - charting banal interpretive data into serious-looking graphics
Jen Adrion - columbus, ohio artist using printmaking, painting, mixed-media, and sculpture to interpret "raw data sets into functional, attractive graphic forms"
The project will be evaluated using the following criteria: (1) is it visually compelling? (2) is it meaningful and original, i.e. does it reveal new cultural patterns which are not not already obvious or known? (3) is is technically competent?
Remember, the purpose is to create art.
Project 2 print due by end of class
Project 3 intro
Work time
and in the background...
Work time
Printing supplies:
Midwest Photo - 3313 N. High St. Colmbus, OH 614-261-1264 - place in town to purchase inkjet paper and supplies. Call for availability. They can order specialty papers such as inkjet transparencies, backlit films (for lightboxes) and inkjet canvas. Bring your BuckID and ask for OSU Art discount.
Microcenter - Olentangy Plaza, 747 Bethel Road, Columbus, OH (614) 326-8500 - sells inkjet paper and supplies, call for availability.
Staples 1747 Olentangy River Rd., Columbus, OH (near Lennox Theater) 614-299-9425 - sells smaller format inkjet papers, sticker paper, brochure paper (2-sided), etc.
Imaging Spectrum - online purchases of large format Inkjet paper and media such as backlit films (for lightboxes) and inkjet canvas.
OSU BuckID Service:https://buckid.osu.edu/ | Room 219 Lincoln Tower | 1800 Cannon Drive | Phone: (614) 292-0400
Go outside and take photos. Put 20 photos into the "shared" class folder to share with your classmates.
"One has to take several shots of a subject from different points of view and in different situations, as if one examines in the round rather than looking through the same keyhole again and again."
Poster for the film The Battleship Potemkin by Alexander Rodchenko, 1926
The three images above are of carbon nanotubestructures grown on silicon substrates. The nanotubesself-assembleduring growth to form intricate structures, depending on the catalystlayer and how the nanotubes push and pull eachother; eachstructureconsists of millions to billions of parallel nanotubes, asthe densityof nanotubes growing from a substrate is about 20 billionper squarecentimeter. The images were taken using a scanning electron microscope.
Click herefor more images of nanotube architectures.
left: Buckminster Fuller and Shoji Sadao, Dome Over Manhattan, ca. 1960, black-and-white photograph
right: Buckminster Fuller and Shoji Sadao, Project for Floating Cloud Structures (Cloud Nine)
(Fuller) envisioned what he called Cloud Nines, communities that woulddwell in extremely lightweight spheres, covered in a polyethylene skin.As the sun warmed the air inside, Fuller claimed, the sphere and allthe buildings within it would rise into the air, like a balloon. "Manythousands of passengers could be housed aboard one-mile-diameter andlarger cloud structures," he wrote.
Bucky Fuller flying in a helicopter over Ohio, 1959
Alexis Rockman, The Farm, 2000, oil and acrylic on wood panel, 96" x 120"
"My artworks are information-rich depictions of how our cultureperceives and interacts with plants and animals, and the role cultureplays in influencing the direction of natural history.
The Farm contextualizes the biotech industry's explosive advances ingenetic engineering within the history of agriculture, breeding, andartificial selection in general. The image, a wide-angle view of acultivated soybean field, is constructed to be read from left to right.The image begins with the ancestral versions of internationallyfamiliar animals, the cow, pig, and chicken, and moves across to aninformed speculation about how they might look in the future. Alsoincluded are geometrically transformed vegetables and familiar imagesrelating to the history of genetics. In The Farm I am interested in howthe present and the future look of things are influenced by a broadrange of pressures- human consumption, aesthetics, domestication, andmedical applications among them. The flora and fauna of the farm areeasily recognizable; they are, at the same time, in danger of losingtheir ancestral identities."
-Alexis Rockman
Alexis Rockman, Manifest Destiny, 2003-04, oil and acrylic on four wood panels, 8' x 24'
After devising a design, Daltonwould collect numerous butterfly wings of multiple species from allover the world. Carefully striping off individual scales with aneedle, each scale was then sorted by color, size, and shape creating aextensive palette. Boar bristle in hand, Daltonwould then transfer each scale to the slide. Positioning a scale was alaborious task, one that required the use of a microscope and a smalltube through which he would breathe to gently move each scale over theglass to its appointed position. Once in place, Dalton would crush a small tiny spot of the scale against the slide, allowing internal oils to act as a natural adhesive. Many ofDalton's remarkable micromosaic preparations would require as many as one thousand individual scales.
Homework: Bring a digital camera to next class. They can be checked out from Classroom Services for free, but you will need to supply your own double AA batteries.
Work time
demo: pen tool and paths, converting path to selection, burn and dodge, sponge, background and magic eraser, extract, liquify
Work time
4PM MICHAEL SNOW at Wexner Center's film/video theater
Photoshop run-through continued: using bridge,importing from flat bed scanner, citing image sources, transforming, blur and smudge, sharpen (filter menu), plus more on working with layers--opacity, duplicating, organizing
After class stop by Hopkins Hall for an undergraduate juried art exhibitition...
Technique demos: Making selections - experimenting with various selection tools and adding and subtracting from selections. Also saving and storing files in the lab and using the Courses Drive to drop off assignments, screen capturing, deciphering image resolution, re-sizing and re-sampling, manipulating color, hue, saturation, levels, channels and curves.
Homework: Study book and tutorials, gather good resolution images to work with. Also read: Postmodernism and Photoshop by Lev Manovich.
Additional files (video tutorials) in Courses Drive > Art > 350 > Agnew > Course Materials
Tools of Adobe Photoshop CS3 (2008)
Introduction to the class, the computer lab and each other. Also, using the Carmen online course system to access content and quick introduction to Photoshop basics, such as navigation, tools, options, palettes and the marvels of undo-ing.
Related Links for Project #1: Social Parody / Media Critique
Photo-manipulation In The Digital Age- As it gets ever easier to doctor images, will the photograph lose its credibility? Listen to the conversation with Hany Farid, professor of computer science at Dartmouth, specializing in image forensics and author of the article"Photo Tampering Throughout History".
The Yes Men - On November 12, 2008, approximately 80,000 copies of a spoof edition of the New York Timesdated July 4th, 2009 were distributed throughout New York City. This prank version of the newspaper featured articles entitled “Troops to Return Immediately,” “National Health Insurance Act Passes,” “New York Bike Path System Expanded Dramatically,” “Harvard Will Shut Business School Doors,” and in the editorial section, “We Apologize”
John Heartfield - artist of the 1930's who collaged photographs and magazines together (photomontage) to create anti-fascist artwork/propaganda; he was re-using media in order to create a new message, one which was not the dominant message of the time
Matt Siber - The Untitled Project and Floating Logos
Adbusters - "a global network of culture jammers and creatives who are working to change the way information flows and meaning is produced in our society"
®TMark, Inc - activist artist network utilizing the corporate model to achieve controversial projects without risking personal liability
"All Your Base" - video of many photoshop images critiquing corporate branding
Taryn Simon- In her recent body of work, An American Index of the Hidden and Unfamiliar, Simon gained access to and photographed rarely seen sites from domains including science, government, medicine, entertainment, nature, security and religion. Click to the 'Photographs' section to view.
13 - Tue 5/12 - View and discuss related media for Project 3, work time
14 - Thu 5/14 - Work time
15 - Tue 5/19 - Work time
16 - Thu 5/21 - Work time
17 - Tue 5/26 - Project 3 due for critique
18 - Thu 5/28 - Project 3 critique continued
19 - Tue 6/2 - Final class! Your final work must be printed, framed, or otherwise complete and ready for the juried exhibition; $4 cash due for exhibition refreshment fund
Drop off artwork Wednesday, June 3rd between 12:30 and 2:30pm in the Haskett Hall Gallery. A faculty committee will decide which works will be hung. Show installation will begin by 3:30pm. Unselected work must be picked up by 6:30pm. If hanging your work involves more than a typical screw in the wall, you must return between 3:30 and 5:30pm to hang your own work. Your work must be professionally presented - framed, on a pedestal or installed in a way that makes sense for your work. You will be responsible for bringing what you will need for the installation of your work. You must also remove the work from the show on Friday, June 5th between 4 and 5pm. This show is a group effort. Expect to help out with the production of the exhibition in some way: clean-up, gallery sitting, snack organizing or installation set-up. Each student is expected to contribute $4 to the exhibition refreshments fund.
