School of Art and Design Pratt Institute Department of Art and Design Education Fall 2011 ADE 630

Media and Materials: From Studio to Classroom/ Secs. 1 &2 Instructor: Aileen Wilson http://about.me/AileenWilson Office hours: by appt. awilson2@pratt.edu SH 217 Tuesday class Sec. 1 Thursdays 5pm -7.50pm; Thursday class Sec 2. 57.50pm Mother blog: http://www.fromstudiotoclassroom.com/ Class website: www.ade630.weebly.com/ Password: Aileen Accommodations for students with disabilities Pratt Institute is committed to assisting students with documented disabilities who are otherwise qualified for admission to the institute. Students requesting accommodations must submit appropriate written documentation to the co-coordinator of Disability Services: Mai MacDonald on 718 636 3711 in the office of the Vice President for Student Affairs. Course Description This exploration of a central element in planning and implementing an art curriculum begins with the research and development of a series of related art projects. Particular literary works serve as subject matter for the projects and extensive experimentation with a variety of studio materials (photo-based media, computers, film and video) is encouraged.Through reading, writing, and discussion, issues such as age-appropriateness, teaching techniques and learning styles are also considered. Additional Information Through a consideration of the themes, practices and concerns of contemporary art, pre-service teachers will learn how to adapt and translate these ideas for educational settings with children and adolescents. Themes such as the fragmented body, practices such as appropriation and concerns such a site/situation are the motivation for exploring the processes, properties and expressive uses of a range of materials, particularly found and recycled materials. This course develops the kind of thinking that is not imitative of the themes, practices and concerns in contemporary art but rather supports the idea of adaptation, translation and the production of new meaning. Students will work with a range of materials and look at ways of structuring and motivating groups of children and adolescents in those materials. It will be a hands-on class in the studio.

Goals: Students will continue to explore the teaching and learning process in the visual arts according to the following New York State Regents standards: (b) Content Core/Visual Arts Standards 1. Creating, performing, and participating in the arts. 2. Knowing and using arts materials and resources. 3. Responding to and analyzing works of art. (c) Pedagogical Core, that is, pedagogical knowledge, understanding and skills. (ii) Learning process, motivation, communication and classroom management and their applications. (iv). Language acquisition and literacy development by native English speakers and students who are English language learners. (v) Curriculum development, instructional planning and multiple research-validated instructional strategies. (vii) Formal and informal methods of assessing student learning and the means of analyzing ones own teaching practice to change that practice (viii) History, philosophy and role of art education, relationship of the participants in the educational process Objectives: Upon completion of this course students will have:

Explored the processes, properties and expressive uses of a range of materials Developed a broad knowledge of materials and how to use these materials with a variety of school age populations Refined skills in adapting materials including found and recycled materials for use in a variety of classroom/studio settings Researched contemporary materials used in the visual arts Learned how to adapt a lesson idea for different age groups through an understanding of different materials Developed strategies for effective organization and distribution of art materials and how this impacts on instruction Discovered the possibilities of childrens artistic expression Included literacy-related activities in art lessons and critique

As Evident from the Following Activities and Assignments with Related Learning Outcomes Assessment: Assessment Portfolio for each student on www.ade630.weebly.com Formative portfolio: mug shot photo, critique sheets, theme reflection sheets, short projects/books/folios, studio work, sketchpad, gallery visit, installation idea (group work), weekly reflection sheets and additional work as assigned 30% 3

Assessment: Student, teacher, peer review and critique Summative portfolio: 50% #1 (15%) Graphic Novel #2 (15%) Webspresence assignment to be discussed in class #3 (10%) Final Project (and Critique sheet) to be discussed in class Assessment: Peer/Instructor review and critique Attendance 20% Class Workload: As per NASAD guidelines: In lecture/discussion courses requiring outside preparation, one hour of credit represents one hour each week of the term in class, and two hours of work outside class. On the website are PDFs for written assignments designed to reflect on, prepare for and enhance the studio learning. Mid-term grades will be assigned after individual conferences. Community Standards Plagiarism Plagiarism means presenting, as ones own, the words, the work, information, or the opinions of someone else. It is dishonest, since the plagiarist offers, as his/her own, for credit, the language or information, or thought for which he/she deserves no credit. (see page 68, Pratt Institute Student Online Handbook) Attendance and conduct The continued registration of any student is contingent upon regular attendance, the quality of work and proper conduct. Irregular attendance, neglect of work, failure to comply with Institute rules and official notices, or conduct not consistent with general good order is regarded as sufficient reasons for dismissal. There are no unexcused absences or cuts. Students are expected to attend all classes. Any unexcused absences may affect the final grade. Three unexcused absences may result in course failure at the discretion of the instructor. (see page 68, Pratt Institute Student Online Handbook) *It is not permitted to hand in work for this class that was produced for other classes. Please note that the syllabus is a plan of what might happen every week but is likely to change in response to your own interests and ideas that emerge during the course. It is your responsibility to keep up with any changes.

Week 1 Tuesday class-8/30

Thursday class-9/1

Whats most desirable is to fashion instructional activities that have the students examining, reflecting, questioning, and responding to the important issues of their world by engaging with the concepts and inquiry that spurred the artists thinking and art making. What you dont want is for students to simply re-create the form of the artists works. The goal of basing curriculum in contemporary art is to engage students with current culture, not to replicate 25 or so mini-versions of the artists work. Melinda M. Mayer, Considerations for a contemporary art curriculum.

Welcome. Introduction Short project: Make a simple folded book. Introduce the idea of limitation, repetition, restraint allowing emergence, evolution and development of themes and ideas. See book template on Weebly site as PDF. Motivation: Key ideas from your writing in Questionnaire#1, and using white-out (either white out that has a brush or white out tape or a white out pen ) and white oil pastel on grey paper and a small wooden stick (please collect the materials from my wire basket in the ADE office and return when done), transform the pages of your folded book. Use only one of the materials named above. Look at the book examples on flickr gallery for ADE 630-you will find the link on my About Me page. Discussion: 1) The Studio? What is your concept of the studio? Where is the 21st century artist working and why? Reading posted. Share citations 2) What is the crit.? What is its purpose? Reading posted. Share citations. 3) Emery, L. (ed.) (2002) Teaching art in a postmodern world. Australia: Common Ground Publishing. Review Chpt. 3. Artists and Ideas: Using online services and resources. Nesbett, P. & Andreas, S. (2006) Letters to a young artist. New York: Darte Publishing; Nina Katchadourians letter from Art on Paper.

Assignments for week 2: Complete Questionnaire#1 (PDF on Weebly site) and email to Aileen at awilson2@pratt.edu Complete Questionnaire#2 technology (PDF on Weebly site) and email to Aileen at awilson2@pratt.edu Weekly sketchpad entries (x2). Create flickr or picasa account. Read the handout (PDF on the weebly site) on taking a good photo and photograph your weekly drawings and upload to flickr. Select public as your flickr or picasa setting. Buy a large inexpensive portfolio for storing your work. Take a Mug shot of yourself holding an index card with your name on it andemail to awilson2@pratt.edu

Week 2 Tuesday class 9/6 GALLERY VISIT

Thursday class 9/8

[Postmodern art teachers] see their task as intermingling their knowledge of art with that of their students such that all parties arrive together at a new place. Fehr, D. (1994) Studies in Art Education 35, 4.

Gallery visit: Museum of Arts and Design http://www.madmuseum.org/ visit The exhibition is Otherworldly: Optical Delusions and Small Realities. Write a two page response to the exhibition as well as to the question: What themes, practices and concerns are of interest to the artists in Otherworldly? (12 point, 1.5 spaced) Assignments for week 3: Gallery Response. Email to awilson2@pratt.edu Weekly sketchpad entries x4 Bring laptops to class, cellphones and/or cameras for photographing Bring simple folded book to class Bring sketchpad to class with 4 entries.

Week 3/4

Tuesday class 9/13; 9/20

Thursday class 9/15; 9/22

The art world is now like Wikipedia: It is vast, multilingual, collaborative, inconsistent, contradictory, and coming from everywhere. As with Wikipedia, anyone can participateIt means discerning the original from the derivative, the inspired from the smart, the remarkable from the common, and not looking at art in narrow, academic, or objective ways. It means emerging uncertainty and contingency, suspending disbelief, and trying to create a place for doubt, unpredictability, curiosity and openness. Jerry Saltz, Senior Art Critic for New York Magazine.

Make a figure: Create a Crowd Weekly drawings. Sketchpads open at the page in the studio. Folder books Review Weekly Reflection sheet and Critique sheet Discuss webpresence assignment, Assignment#2 Slideshow of mug shots Short project: Stations-1. Bent paper figures on a shelf. 2. Document reader projections-pencils, mirrors 3. Making a figure structure using foam, wire and panty hose (self portrait or action figure). 4. Black silhouettes and stands Motivation: dolls, bears and action heroes, dolls clothes, Studio work: see stations above Critique: What can we take from this into our work with children? Artists and Ideas: Tara Donovan, Jean Shin, Cloth or fabric figures Louise Bourgeois, Ernesto Nieto, Oliver Herring: Knitting Mylar Sculptures Art 21; Exhibition-Subversive Stitch; Jan Sterbach; Sculpture Today-chapter on 3

clothing, image of knitted coke can, Charles leDray-handcrafted clothes in miniature Assignments for week 4: Make notes on Reflection on Make a figure: Create a crowd (handed out in class) and bring to class awilson2@pratt.edu Weekly Drawings x2 Photograph all studio work and sketchbook entries. Assignment for week 5: Complete Reflection on Make a figure: Create a Crowd and give to Aileen. Weekly Drawings x2 Photograph all studio work and sketchbook entries Complete consents (PDF on Weebly site) for work to be used, scan and email to awilson2@pratt.edu Assignment#2: Web-presence Phase 1 due. Weeks 5/6 Tuesday class 9/27; 10/4 Thursday class 9/29; 10/6

teaching about contemporary art involves making links with other areas of knowledge. Artists today explore science, literature, history, robotics, medicine and forensic science with great fascination. The study of contemporary art can no longer be contained within the narrow confines of the western or modernist canon and for some this involves a degree of anxiety as the subject art makes potential curriculum links with subjects such as science, literature, history and social studies. When the subject art moves into the sphere of visual culture it does demand that art rethink the very boundaries of the subject. Lee Emery, Art Education in a postmodern world

The Contemporary Ruin: appearance/disappearance Weekly drawings. Sketchpads open at the page in the studio. Make handmade books for graphic novel Assignment #1. Short project: Recontextualizing objects/photos Motivation: Photographer-New Jersey, Detroit Mapping, East Germanywolves, Japan photos after the Tsunami, garbage in Atlantic, Prattfolio on Sustainability Studio work: plastics, installation proposals (see handout), construction of book for the graphic novel. Worksheet # Graphic Novel and grading rubric. Discuss Assignment#1 Critique: What can we take from this into our work with children? Artists and Ideas: Anslem Keifer, Eve Mosher Insert Here, Chris Jordan, Liu Jianhua, Slinkachu Assignment for week 6: Begin Reflection (PDF on Weebly site) and bring to awilson2@pratt.edu Weekly Drawings x2 Photograph all studio work and sketchbook entries Installation proposal (PDF on Weebly site) share with class. Email to 3

awilson2@pratt.edu Bring graphic novel worksheet completed (PDF on Weebly site) for Assignment#1 and email to awilson2@pratt.edu Assignment for week 7: Complete Reflection (PDF on Weebly site) and give to Aileen Weekly Drawings x2 Photograph all studio work and sketchbook entries Continue work on graphic novel-Assignment#1 due week 7. Mid-semester course evaluations due (PDF on Weebly site) and email to awilson2@pratt.edu. Mid-semester critique due (PDF on site) and email to awilson2@pratt.edu

Weeks 7 /8 Tuesday class 10/11; 10/18 Thursday class 10/13; 10/20 Size and Scale: Space and Place Weekly drawings. Sketchpads open at the page in the studio. Assignment#1 DUE. Discuss Magcloud, Blurb and other online services. Installation proposals-Discuss Short project: Aluminum foil etching. Google maps of your street, floor plans. Folded folder for maps. Motivation: Architects model figures, paper sculpture forms by architects Studio work: Marks on paper and using clear tape make a special place / Tyvek cut out- with the prompt-It was a long journey home. Critique: What can we take from this into our work with children? Artists and Ideas: Tin ceilings, Installation Art in the New Millennium; Sculpture Today; Paul Pfeiffer: Dutch Interior; Taylor McKimen; Fred Wilson; Project using on piece of paper-Hirschorn; Home Sweet Home Project; Vyzoviti, S. (2003) Folding architecture: Spatial, structural and organizational diagrams. California: Gingko Press. http:// www.joseebienvenugallery.com/artist_maggi06-12.html, Assignments for week 8: Begin Theme Reflection Weekly Drawings x2 Prepare for mid-semester conferences: Photograph all studio work and sketchbook entries. Check that your About Me page has a photo, a bio, and a link to your Flickr site. See guidelines. Check that all weekly assignments are complete and on your Assessment Portfolio page.
SCHEDULE MID-SEMESTER CONFERENCE WITH AILEEN WEEK 8.

Assignment#2 Webpresence Phase II and Phase III to be discussed. Assignment for week 9: Complete Theme Reflection and give to Aileen Weekly Drawings x2 3

Photograph all studio work and sketchbook entries Assignment#2 Webpresence Phase II Weeks 9/10 Tuesday class 10/25-no class; 11/1

Thursday class10/27; 11/3

To be an architect you have to be the builder, the poet, the humanist. [you have to have] the capacity to make thingsyou are ultimately making something.you have to be a pragmatist as you have to know how to do things, [how] to make thingsmaking things for peoples dreamsyou must have the force and energy to invent Renzo Piano, architect, interviewed on Charlie Rose, May 2009.

Fragmented Body: Sculpture on a small budget Weekly drawings. Sketchpads open at the page in the studio. Short project: motivation (Book of Anatomy and Surgery, Blood in Pratt Library), material (select colors) surface (off white paper), size 9x9. Gesso transfers. Cell images, black and white conte on grey paper. One image of an accordian of images. Motivation: Bodies, Limbs and Fragments, hollow chocolate rabbits. Studio work: A 3D form of the cell imagery Worksheet #3 Critique: What can we take from this into our work with children? Artists and Ideas: Antony Gormley, Magdalena Abakamowicz, Kiki Smith, Mona Hatoum -video of the esophagus, Oliver Harring: Gloria-photo sculpture Art 21; Christ in Chocolate-the controversy, Mark Quinns piece from the Sensation Show; chocolate hollow rabbits, Image of aluminum mold of car; Abu Dhabi Biennale, skin, limbs, inside/outside, the feeling body, the human/posthuman body Skin-skin shows, tatoos, nip-tuck, pre-op drawing on faces, embedded imagery under the skin, liposuction, skin melting, Shiran Neshrat, French artist who changes her face, "carnal culture of flesh" Assignment for week 10: BeginReflection (PDF on Weebly site) and email to awilson2@pratt.edu Weekly Drawings x2 Photograph all studio work and sketchbook entries Assignment#2 Webpresence Phase II to be discussed in class. Due week#11 Assignment for week 11: Complete Reflection (PDF on Weebly site) and email to awilson2@pratt.edu Weekly Drawings x2 Photograph all studio work and sketchbook entries Assignment#2 Webpresence. Phase II due.

Weeks 11/12 Tuesday class 11/8; 11/15

Thursday class 11/10; 11/17

To get to the idea of playing it is helpful to think of the preoccupation that characterizes the playing of a young child. The content does not matter. What matters is the near withdrawal state, akin to the concentration of older children and adults. The playing child inhabits an area that cannot be easily left, nor can it easily admit intrusions. This area of playing is not inner psychic reality. It is outside the individual but it is not the external world. Into this play area the child gathers objects or phenomena from external reality and uses these in the service of some sample derived from inner or personal reality D.W. Winnicott, Playing and Reality.

Strangers to Science: Drawn to Print Books Weekly drawings. Sketchpads open at the page in the studio. Share About. Me pages Discuss Final Projects-Due Week#14. Short project: seed pod drawings, pen and ink on stickers-sticker art. Studio work: Printmaking techniques x4. A print folio of small imagesstudy; seeds; cells; sustainability. Water based and oil based. Embossed cover or alphabet stamps. Critique: What can we take from this into our work with children? Artists and Ideas: National Geographic photos, nature images, patterns in nature, Mark Dion, Share reading Art and Science, Royal de Luxe and the elephant; http://www.youtube.com/watch?v=_Qa2HMpiQuc, Simon Starling, Maria Thereza Alves, Botanical Studies, Seed imagery, Lorna Fraser Assignment for week 12: Begin Reflection (PDF on Weebly site) and email to awilson2@pratt.edu Weekly Drawings x2. Sketchbook entries should now be complete. Confirm # entries. Photograph all studio work and sketchbook entries Final Project critique sheet. (PDF on Weebly site). Look back over your weekly drawings, and begin to think about your final project. Assignment#2, Phase III to be discussed in class Assignment for week 13: Complete Reflection (PDF on Weebly site) and email to awilson2@pratt.edu Continue work on final projects, due week 14. Week 13 Tuesday class 11/22; 11/29

Thursday class 11/24-no class; 12/1

Indeed recent research by the National Foundation for Educational Research [UK] convincingly concludes that schools which incorporate contemporary art practice into their curriculum see an improvement in the motivation and enthusiasm of students while encouraging creativity and thinking skills and widening students social and cultural knowledge. Tom Hardy, Art education in a postmodern world

Accumulation: Found Images Weekly drawings. Sketchpads open at the page in the studio. Discuss the image and text for the PDF catalogue for final exhibition. Invitations and design to be discussed. Short project: Stations with different possibilities. Transform a postcard, found photos, oil rub collage, solvent rubbed on newspaper. Studio work: Choose one and do a larger, more developed piece of work. Motivation: Work with a theme: Shadows and The Mysterious; Time; Clouds; Fragments and Remains: others TBD Critique: What can we take from this into our work with children? Artists and Ideas: Dieter Roth, Yoshitomo Nara, Thomas Hirschorn, Ellen Gallagher, Do Ho Suh Who Am We wallpaper, Jorge Macchi, Trenton Doyle Hancock: It Came From the Studio Floor Video, William Wegman, David Altmejd Discuss final project, image and bio. Share bio examples. Finding themes: Street Level catalogue essay. Assignment for week 14: Final project due. Photograph final project for catalogue and finalize text. Email to awilson2@pratt.edu Prepare for Open Studio Exhibition, week#15. Complete End of semester self assessment, email to awilson2@pratt.edu

Week 14 Tuesday class 12/6 Final Projects due. Discuss Open Studio.

Thursday class 12/8

Assignment for week 15: Assignment #2 Phase III due week 15. Link to your About.Me site. Week 15 Tuesday class 12/13 Thursday class 12/15 Open Studio Exhibition Final Thoughts

Other ideas may include:

Inspiration is for amateurs. I just get up and get to work. Chuck Close cited by James Fry

Installation: Nomadism Weekly drawings. Sketchpads open at the page in the studio. Short project: motivation-colored inks on blotting paper or coffee filters, Motivation: Why do artists make multiples? Studio work: objects bags, suitcases, travel, tickets, evocative objects Critique: What can we take from this into our work with children? Artists and Ideas: Rotunda Gallery artists
The transitional objects of the nursery-the stuffed animal, the bit of silk from the baby blanket, the favorite pillow-all of these are destined to be abandoned. Yet they leave traces that will mark the rest of lifeduring all stages of life we continue to search for objects we can experience as both within and outside of the self. Sherry Turkle, Evocative Objects.

Memory: Lost, misplaced or stolen objects Short project: TBD Studio: Letter, photograph to put inside object. Paper mache of memory object Motivation: 9/11 memorials, PBS documentary, Keifer, Boltanski Possible extension: Shelves-creating temporary shelves; Cover/spray the form in another material, spray
We consider interaction to be a form of artistic expressionWe work almost exclusively through interactive processes in which the representation of themes and issues directly involves concerned people or groups. Our work is not necessarily designed as communityorientated projects but as art realized with communities as part of the larger society, delving into the relationship between these communities and society. Mauricio Dias and Walter Riedwig, artists.

Impermanence: Structures Weekly drawings. Sketchpads open at the page in the studio. Worksheet# Short project: Draw balls (assorted). Create a fantasy castle in paper (outside and inside) Motivation: childrens balls, balls of string, spheres, boxes and play, ball of elastic bands Studio work: cardboard strips, staple guns, cable ties, bamboo. In groups, make a structure you can hide in, or walk through. Critique: What can we take from this into our work with children? Artists and Ideas: Martin Purlyear, Heart of the Beast Puppet Theater, Buckminster Fuller, Installation Today, Tree Houses, Large jacket for fashion show, Frank Gherys fish. Possible extension: Shelves-creating temporary shelves; Cover structure in a material. Color: What are the possibilities of tempera? Weekly drawings. Sketchpads open at the page in the studio. Short project: motivation, material (red colored pencil), surface (vellum or paper), size (9x9) Worksheets# Motivation: Red! Written reflection on a remembered red. Studio work: An imagined, remembered or dreamt landscape in five small tempera paintings in different sizes. Paste results on wood blocks. Critique: What can we take from this into our work with children? Artists and Ideas: Elizabeth Peyton, John Berger, Ida Applebroog; Beautiful Stuff by Topal and Gandini; Polly Apfelbaum; Tim Hawkinson (red biro drawing); David Batchelor; Spencer Finch.

Deconstruction: What is inside an electrical appliance? Weekly drawings. Sketchpads open at the page in the studio. Short project: What is inside an electrical appliance? Vellum with blue pencil Worksheet# Motivation: take apart electrical appliances, diagrammatic drawing of how to put it back together, IKEA, threads, installation, imagining inside of electrical appliance, exploding objects, taking clothes apart and printing them, flattening objects and printing them. Nathan Myhrvold cookbookexploding eggs Studio work: An appliance deconstructed and reconstructed. Worksheet # Critique: What can we take from this into our work with children? Artists and Ideas: Cornelia Parker, Jean Shin, Damien Ortega, The Street: Materials and Performance 3

Artists and Ideas: PosterBoy, Swoon, polar bear that fills with air, slinkachu, JR, Catalogue and reading Motivations: Film Posters, stickers, homies

Some of the references that will be used in the class: Blanciak, F. (2008) Siteless: 1001 building forms. Cambridge MA: MIT Press. Glen, J. & Hayes, C. (2006) Taking things seriously: 75 objects with unexpected significance. New York: Princeton Architectural Press. Harmon, K. (2004) Personal geographies and other maps of the imagination. New York: Princeton Architectural press. Harding, A. (ed.) (2005). Magic moments: Collaboration between artists and young people. London: Black Dog Publishing Hoptman, L. (2002). Drawing now: Eight propositions. New York: Museum of Modern Art. Ivashkevich, O. (2006) Drawing in childrens lives in J. Feinburg (ed.) When we were young: New perspectives on the art of the child (University of California Press), 45-59. Jacob, M. J. & Grabner, M. (2010) The studio reader: On the space of artists. Chicago: The University of Chicago Press Mathews, J. (1999). The art of childhood and adolescence: The construction of meaning. London and Philadelphia: Falmer Press.

Nesbett, P. & Andreas, S. (2006) Letters to a young artist. New York: Darte Publishing. New, J. (2005). Drawing from life: The journal as art. NY: Princeton Architectural Press. Robertson, J. & McDaniel, C. (2005) Themes of contemporary art: Visual art after 1980. Oxford: Oxford University Press. Smith, K. (2007) Wreck this journal. New York: Penguin Group (Inc). Smith, E. K. (2007) How to make books: Fold, cut & stitch your way to a one-of-a-kind book. New York: Random House, Inc. Smith, E. K. (2008) Magic books & paper toys. New York: Random House, Inc. Taylor, T. (2009) Eco Books: Inventive projects from the recycling bin. New York: Lark Books. Turkle. S. (2007) Evocative objects: Things we think with. MA: The MIT Press. Vyzoviti, S. (2003) Folding architecture: Spatial, structural and organizational diagrams. California: Gingko Press Vyzoviti, S. (2006) Supersurfaces: Folding as a method of generating forms for architecture, products and fashion. California: Gingko Press Weintraub, L. (2003) Making contemporary art: How todays artists think and work. Thames & Hudson: London

Guidelines for assignments Weekly Drawings Two sketchbook entries are due each week. This is your opportunity to continue your studio work, reconnect with your studio work and/or explore and experiment with new ideas, materials and processes. A very broad concept of drawing is appropriate and all drawing materials including a wide range of collage materials and paint apply here. There is a list of Drawing Provocations (PDF on Weebly site) if you want some additional ideas. Buy a 9x9 sketchpad as the change of size will provoke some new work. Go to the link below to buy online. http://www.beepaper.com/paper/classic-superdeluxe.asp You will get feedback from your fellow artists in class. In preparation for the small group critiques, you will complete a Critique Sheet (PDF on Weebly site) weekly. Assignment#1 Graphic Novel Assignment #2. Web-Presence Create an online presence for yourself as artist-teacher. 3

Phase I Due___ Go to https://about.me/ Create an About Me page. Send the link to Aileen at: awilson2@pratt.edu Examples www.about.me/aileenwilson; http://about.me/laureljaycarpenter Use a high resolution image of your work as background. Write a bio (see examples as PDF on Week #13 on Weebly site) and add to your page. Create a Flickr or Picasa photo account Link on About.Me to your flickr account Photograph all work and upload to Flickr. Phase II Due___ Activate the links on your Bio. Group your Flickr photos in Collections. Add size, materials and titles to work on Flickr as needed. Add project descriptions to sets and collections as needed. Create other links to your work (if applicable) Revise Bio and page design based on feedback. Phase III Due__________ The class will have produced an exhibition catalogue as a PDF. Upload the PDF to googledocs or slideshare (choose a public setting) and link to your About.Me page. You will have turned your graphic novel into an online magazine or book. Create a link to your About.Me site. Assignment #3 Final Project This is your opportunity to produce a piece of work that relates in some way to the themes, practices, concerns, techniques and/or materials that have been explored in class. Ideas will have emerged during the semester and you will have discussed these ideas with your fellow artists. A photo of your work with title, dimensions and materials will be submitted for the exhibition catalogue and friends and faculty will be invited week#15.