4.301 Introduction to the Visual Arts
Introduction to artistic practice and aesthetic analysis. Students are inspired to communicate their ideas and experiences through various media such as sculpture, installation, performance, video and computer imaging. Three assigned projects evolve through stages of conceptual and material development to final presentation and critical discussion. Lectures, visiting artist presentations, field trips, and readings supplement studio practice, providing an index to the historical, cultural and environmental forces that affect the development of artistic vision and the reception of the work of art. Lab fee $65.
Section 1
This class will introduce students to a variety of contemporary art practices and ideas. The class will be begin with a brief overview of 'visual language' by looking at a variety of artworks and discussing basic concepts revolving around artistic practice. The class will work in video, sculpture and in public space.
Pseudoscience?
Pseudoscience is defined as a body of knowledge, methodology, belief, or practice that is claimed to be scientific or made to appear scientific, but does not adhere to the scientific method, lacks supporting evidence or plausibility, or otherwise lacks scientific status. This class looks to pseudoscience as a method of creativity and cultural production. Do belief systems lack value because they are not scientifically 'provable'? Can pseudoscientific ideas hold another kind of cultural value? Can they be expressive? Critical? In this class, we look to using the language and symbols of science for the purposes other then a 'provable hypothesis'. We will look at historical example of pseudoscience (phrenology, parapsychology), we look at how scientific language can be used as a tool for expressing non-scientific ideas and we look at the implications that this has for a critical understanding of science and technology. How does technospeak and scientific jargon effect the publics understanding and reception of ideas?
We will looks at variety of contemporary artist who use scientific symbols and language in the creation of their artworks. We will look at artists who use scientific methods (Mark Dion, Mark Lombardi), artists who pseudoscientific practices like trances and hypnotism (Matt Mullican) and also artist who have collaborated with scientist in the production of their works (Dario Robleto).
This class will work across a variety of media, including sculpture, video and public art.
The course meets twice a week for 3 hrs each session for a total of 12 units of credit. A minimum of six hours per week outside class work is expected. There will be 3 studio projects that must be completed for the course. You are required to prepare a written one-page statement for each project. Readings are assigned to provide a historical and theoretical framework for each studio project.
Spring 2009
Section 1
Lecturer Joe Zane
Meets TR 2:00-5:00
Room: N51-348
Section 2
Lecturer
Jae Rhim Lee
Meets TR 2:00-5:00
Room: N52-342
Section 3
Associate Professor Gediminas Urbonas
Meets TR 9:30-12:30
Room: N52-342
Undergraduate Level Subject
Prereq: --
Units: 2-4-6
Credit cannot also be received for 4.302
You must enter the HASS-D lottery to take this subject.
Section 2
This course is an introduction to artistic practice and aesthetic analysis. Course sections will take up various themes each semester, including the gymnasium and working out, and disaster and relief. Students are inspired to communicate their ideas and experiences through various media such as sculpture, installation, performance, video and computer imaging. Projects evolve through stages of conceptual and material development to final presentation and critical discussion. Lectures, Visiting Artist presentations, field trips, and readings supplement studio practice, providing an index to the historical, cultural and environmental forces that affect both the development of artistic vision and the reception of the work of art.
The theme for 4.301, Section 2 in Spring 2009 (Instructor: Jae Rhim Lee) is Permaculture* as Art. Students will explore and use permaculture principles as a departure point for developing studio work including performance, installation, sculpture, video, and multimedia works. Field trips are dependent on funding and will potentially include visits to nearby farms, wastewater treatment facilities, and permaculture sites.
*Permaculture: A holistic systems approach to designing human settlements and solving environmental and community problems developed by Australians Bill Mollison and David Holmgren in the 1970's. The focus of permaculture is the development of perennial agricultural systems that mimic the structures and interrelationships found in natural ecologies, which on occasion even surpass the inherent efficiencies of natural systems.
