Project 2 Info

The crit for the modern abstract form carved foam piece is on October 20.

Paper Due 11/10/11

Hi Art 25 Students,
      You can write your papers about any of these shows, or you can find your own.  As it turned out, I am posting a lot of shows that are installations.  You can look at work that is a singular object rather than an environment.   
         My requirement is that the work is contemporary. That means that the artist is still alive and the work was made recently, (in the last 50 years or so).
      You can write about one piece from the show, or do a review of the entire show.    If you don't understand the work, you can ask the gallery or docents questions.  You can also use printed material from the show to support your writing, but please turn in those materials.  
   Please include an image or the work you are writing about, if you are prohibited from photographing the art and there are printed images available, you can submit a sketch of the work.  You can submit your papers to me electronically to before the due date. 
Your Paper is Due November 10th, 6:30PM No Exceptions

Paper Requirements : One typed two page, double spaced, 12 pt. font,  with 1" boarders, review of a current contemporary sculpture exhibition.  This should include background on the artist and their work, a detailed description of the work and venue you are reviewing, and a critical analysis of the work( what do you think about the work?).
A list of current on going exhibitions in the area is below. Have fun learning!

Verlorn Hoop Mixed Media Exhibition Saturday 9/24/11

Section 0061 Students, 

You can write your papers about these shows.  The show at MakeSpace is free.  The artist did some of the work as a student at PCC in Yolanda McKay's sculpture class.  The work is relevant to our machine project so I hope I see you on Saturday night.  Best, Sara

 

MakeSpace ARTS proudly  presents:

Verloren Hoop

Artwork by Rick Baker


September 24- October 22, 2011
...
Opening reception for the artist Saturday, September 24th, 7:00-9:00 PM

Gallery hours are M-F 10AM- 5PM & by appointment on weekends

2797 E. Foothill Blvd. Ste. 100,
Pasadena, CA 91107
  (626) 888-5600

www.makespacearts.com
Free and open to the public
Street parking available

Included are drawings, sculpture and found objects.

The works in this exhibition all draw inspiration from several themes and processes: innocence and the abuse of power; the products of obsessive behavior; and the cathartic value of humor.

Specific influences include Buddhist cosmology, horror movies, old photographs, children’s toys, plant morphology, disease and the slippery nature of language.

“Verloren Hoop” is an Old Dutch phrase meaning, literally, “lost heap.” It was a metaphor used to describe the first wave of soldiers sent into battle during a siege – a strategic “sacrifice” of the youngest soldiers.

In a peculiar instance of folk etymology, the phrase was translated into English as “Forlorn Hope”. Rarely used now, it came to mean any kind of hopeless undertaking or lost cause.

Conceived and produced instinctually, Baker’s work actually functions as a response to hopelessness. Meticulously constructed drawings become objects for meditation. The dissonant combination vibrant pastels and eerie, amorphic forms suggest a kind of spiritual reconciliation. Dark humor provides relief.

To see more work by the artist, go to /www.flickr.com/photos/silav
___________________________________________________________________________________
GENERAL MUSEUM INFORMATIONPasadena Museum of California Art
490 East Union Street
Pasadena, CA 91101
626-568-3665

MUSEUM HOURS
Wednesday - Sunday
12:00 - 5:00 p.m.
The Museum is closed July 4th, Thanksgiving Day, Christmas and New Year's Day.

ADMISSION

$7 for Adults
$5 for Seniors and Students
Free to Members
Free the first Friday of the month
*Special offer with the Pacific Asia Museum on Colorado and Los Robles: Attend both museums in the same day and receive 50% off admission at the second museum when you present proof of entrance.
www.pacificasiamuseum.org

LOCATION AND PARKING

The museum is located one block north of Colorado Blvd. between Los Robles Ave. and Oakland Ave.
Free parking is available on the ground level of the museum and additional public parking is available across the street on Union.

Alex Kritselis at Pasadena Museum of California Art

• 
• 

Exploring how the media shapes people’s perceptions of significant events, Alex Kritselis creates a vast landscape from the issues of the Los Angeles Times that he collected in the aftermath of September 11, 2001.  His immersive installation was previously installed at the Armory Center for the Arts in 2002, but has been reimagined for the PMCA Back Gallery to commemorate the tenth anniversary of 9/11 and to pose new questions about the lingering effects of the attack on our national psyche. Kritselis is a multimedia artist based in Los Angeles and from 2002-2011 was Dean of the Visual Arts and Media Studies Division at Pasadena City College.

This exhibition is supported by the PMCA Board of Directors. In kind support has been provided by Sharp Seating Company and MakeSpace ARTS-Classes+Events+Exhibitions. Special thanks to Jay Belloli.

Image Credits
Above the Fold (stills), 2002. Mixed media and video installation. 
___________________________________________________________________________________

Roland Reiss @ PMCA

 

 

• 
• 

Roland Reiss has been a major presence in the Los Angeles art world both as an artist and teacher for several decades. During the 1970s and 1980s, the artist created miniature sculptures of scenes from everyday life, which are among his most famous and groundbreaking works, despite the fact that he works primarily as a painter. Organized by the PMCA and curated by Kate Johnson, the exhibition features close to thirty of these miniature scenes. Evoking stress, panic, ambition, fear, insecurity and delight through the narrative tableaux, Reiss examines our society’s semiotics, or codified signifiers of hidden meaning. In addition, the exhibition will also include one of the artist’s most monumental works: a rarely seen life-size representation of a living room entitled, The Castle of Perseverance.


This exhibition is organized by the Pasadena Museum of California Art and curated by Kate Johnson.

This exhibition is supported, in part, by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission. Additional support for this exhibition has been provided by the Pasadena Art Alliance, Robert B. Egelston, Sarah S. Hurt, Cathie and David Partridge, Peggy Phelps, and Gretel and George Stephens.
In-kind support has been provided by King Equipment.


Image Credits (left to right):
F/X: In Search of Truth, 1990. Mixed media, 14 x 24 x 24 inches. Collection of the artist.
The Dancing Lessons: Relative Scale and Relevant Motion, 1977. Mixed media, 14 x 14 x 24 inches. Collection of Bernice E. Levine.
The Gravity Observations: Victory Over Need, 1982. Mixed media, 14 x 24 x 24 inches. Collection of the artist.

• 
• 

Roland Reiss has been a major presence in the Los Angeles art world both as an artist and teacher for several decades. During the 1970s and 1980s, the artist created miniature sculptures of scenes from everyday life, which are among his most famous and groundbreaking works, despite the fact that he works primarily as a painter. Organized by the PMCA and curated by Kate Johnson, the exhibition features close to thirty of these miniature scenes. Evoking stress, panic, ambition, fear, insecurity and delight through the narrative tableaux, Reiss examines our society’s semiotics, or codified signifiers of hidden meaning. In addition, the exhibition will also include one of the artist’s most monumental works: a rarely seen life-size representation of a living room entitled, The Castle of Perseverance.


This exhibition is organized by the Pasadena Museum of California Art and curated by Kate Johnson.

This exhibition is supported, in part, by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission. Additional support for this exhibition has been provided by the Pasadena Art Alliance, Robert B. Egelston, Sarah S. Hurt, Cathie and David Partridge, Peggy Phelps, and Gretel and George Stephens.
In-kind support has been provided by King Equipment.


Image Credits (left to right):
F/X: In Search of Truth, 1990. Mixed media, 14 x 24 x 24 inches. Collection of the artist.
The Dancing Lessons: Relative Scale and Relevant Motion, 1977. Mixed media, 14 x 14 x 24 inches. Collection of Bernice E. Levine.
The Gravity Observations: Victory Over Need, 1982. Mixed media, 14 x 24 x 24 inches. Collection of the artist.

___________________________________________________________________________________
  Other Shows around LA....

Johnston Foster // Head Stash

POVevolving Gallery is very happy to announce a one person exhibition by Johnston Foster. This is the artist's first exhibition here at the gallery.

For this exhibition, the artists will show recent works including an 8ft mixed media sculptural installation featuring an intricately crafted skeleton ( made from plastic lawn chairs ) riding a small pony that has been assembled from pieces of old tables and misc scraps of wood. The entirety of the work is surrounded by a swarm of wasps, each and every one, hand crafted from bits of recycled material. This piece is incredible in person and is really something to see...

In addition to the epic centerpiece, the artist will be showing 15 wall mounted 'masks' - each one, incredibly expressive and created from random bits of detritus, including tires, hair brushes, shoes, car parts and a wide range of other reclaimed materials...

Please join us for the opening reception, which corresponds with Round 2 of the Chinatown Summer Nights Festival.:

Saturday, September 10th from 7 - 11 pm.

A Preview of this Exhibition is available:

Click Here to View the Preview.

Please direct all sales inquiries to:

jeremy@povevolving.com

 POVevolving Gallery

939 Chung King Road | Los Angeles, CA ~ 90012

 ___________________________________________________________________________________

Plaster info for project #1

Plaster Info Sheet for Project #1 Thursday Sept 8th

What you Need Thursday Sept 8th· Plaster of Paris
· Water
-4 empty soda cans
- Putty knife
·2  1 gallon bucket
-2 chip brushes


How to mix it:

1. To mix the plaster, fill a 1 gallon plastic bucket or other container no more than one-third full of cold water. (Hot water accelerates set-up time and can compromise the quality of your block). The ratio is generally 1 part water to 2 parts plaster, but this is not an exact science. It is better to mix too little plaster at first, because you can make more batches to fill your form.

2. Sift the plaster of Paris through your fingers/ or with a metal strainer into the water. Distribute the dry plaster evenly throughout the waters surface. Keep adding the plaster until it stands above the water in dry peaks. This will take awhile, because the plaster will keep sinking. In order for the plaster to mix properly with the water, however, it's important to add the right amount. When the surface of the peaks begin to look cracked like a desert floor, you can move to the next phase.

3. When you reach this stage, you can mix the two together with your gloved hand. Do not stir, but rather gently squeeze out any lumps that may occur. Stirring will cause air bubbles to form in the mixture which you do not want. Stirring also accelerates set-up time, which again can compromise the quality of your block. As soon as the plaster is mixed to a smooth, creamy consistency and covers your hand, pour it into your form. Tap the bottom of the container on a flat surface to release any trapped air. Depending on how much you mixed, you may have enough, or you may need to repeat the process. You may check to see if the form is level and make adjustments with shims accordingly.

4. The plaster will harden in just about 15-30 minutes. When the block is ready, peel the box away, and discard the pieces. You can plan your model by drawing several views of the sculpture and then transferring a rough sketch onto the block. If you prefer, you can make a direct carving by improvising as you work. Use the table knife and spoon to create the sculpture. You'll notice that the plaster may be warm. This is because mixing the plaster with water causes a chemical reaction which gives off heat. The plaster will be soft, so working with the block is easy at this stage.

Helpful Tips and Information:

■ Keep plaster away from food or kitchen and out of the reach of small children and pets. Read all directions and safety precautions on the packaging of any plaster materials that you obtain or purchase. Take precautions to keep dry or mixed plaster off of skin and out of eyes. Plaster undergoes a chemical reaction that produces high heat and can cause severe burns. Never mix plaster using your bare hands.
■ If doing any body casting, always use a release like Vaseline on your skin. Only use thin layers and/or plaster bandages. Always leave an "out", meaning an open side or an area thin enough to cut with scissors.
■ Wear a particle mask when mixing plaster.
■To save money, buy plaster of Paris at hardware stores or a lumber yard, rather than at craft store.
■ If you want to make a larger sculpture, substitute your form for a Rubbermaid container or a cardboard box taped well at the seems. Mix your plaster in smaller batches adding them to the bigger mold gradually. When the plaster sets up, just peel away the carton, or pop the hardened plaster out.
■ Mixing plaster properly takes a little practice. If the mixture is too liquid, it will take a long time to set up, and the finished block will be weak. On the other hand, if you add too much plaster of Paris to the water, it will be too thick, harden very fast, and it will be difficult to use.
■ Never mix plaster in a metal container, because you'll be unable to remove it or clean the container when the plaster hardens. Also, be very careful about cleaning up after working with the material. Plaster can clog sink drains! Clean your hands by wiping the plaster on a rag or paper towels, and then rinse in a bucket of water. When the plaster settles on the bottom of the bucket, discard the water and let the plaster silt harden. Later, just dump the dried plaster chunks in the trash.

Class Syllabus Fall 2011

Course Syllabus

Course Description:

Art 25 is an introductory sculpture studio course that explores the expansive field of sculpture.  The course engages the history and theory of three dimensional objects from traditional and non-traditional perspectives.  Students will investigate everything from space, form, volume, and texture, to time, site, context, and experience through object-making.  This course will place emphasis on exploring plastic arts beginning after the turn of the 20th century, and move to present day work.  Students will learn to expressively merge form and content to make works relevant to their experience, but within the context of current trends, movements, and discourse.  

Student Learning Outcomes (SLOs) :

• Students will demonstrate skill in basic construction techniques, mold-making and casting.
• Students will demonstrate creative solutions using various materials in making discrete objects and installation work. 
• Student will acquire analytic skills to discuss formal, technical and conceptual ideas in critiques.

Course requirements:

 1. Sculpture Projects:

The following four studio assignments must be completed and critiqued by the            class on time.  Detailed hand-outs and discussion will further outline project requirements.

            Project 1:  Traditional Bust  in 1/2 Scale

            Additive Processes

            A. Clay modeling

            B. Waste Mold & Plaster Cast

            Project 2: Finding Form  in the Abstract Object

            Reductive Processes- Foam Carving

            Project 3:  Make a Machine

            Construction- Found objects, assemblage, mechanization, kinetic art.

            Project 4: Public Art Project Proposal

            Collaboration-  Monumental Scale, site specificity, civic planning.

Contact: sarahunsucker@gmail.com

Course requirements continued:

2.  Paper: One typed two page, double spaced, 12 pt. font,  with 1" boarders, review of a current contemporary sculpture exhibition.  This should include background on the artist and their work, a detailed description of the work and venue you are reviewing, and a critical analysis of the work( what do you think about the work?).  A list of current on going exhibitions in the area will be provided.

3. Sketchbook: Each student must keep a hardbound 9" x 11" sketchbook.  This book must contain proposals with preliminary sketches for each assignment, notes on class lectures and discussions, notes on assigned readings or in-class exercises.  Collage, drawing, painting, etc.  expressing ideas and interests pertaining to your sculpture practice.  This book is to be updated weekly. Your sketchbooks will be graded at the mid-term and again during the final week of class. 

4. Participation: Attendance to all classes is of the utmost importance.  You must attend a minimum or one additional lab/studio hour per week (times and days when a tech or instructor will be present in the studio will be announced).  You must sign in on the yellow sheet by the cage upon arrival.  Additionally, you must keep a log of your hours on the sheet provided in this packet, and it is to be turned in at the end of the semester.  Good participation includes but is not limited to: Being prepared and having all materials for studio work periods, being a contributor to class discussions and critique, participating in technical demos and workshops, contributing to the blog weekly, cleaning and maintaining studio, and always being professional and respectful of peers.

Grades:

Projects:  60%  or 600/1000 pts. (150 pts. each)

Sketchbook:  20% or 200/1000 pts.

Participation:  10% or 100/ 1000 pts.

Paper:  10% or 100/1000 pts.

Extra credit: TBA, worth up to 10 pts.

Point Breakdown:

F    0-186

D-  187-254 D 255-322  D+  323-390

C-  391-458 C  459-526 C+ 527-594

B-  595-662 B 663-730  B+ 731-798

A- 797-864  A  865-932 A+ 933-1000

* Good class participation and/or the extra credit can be beneficial to your standing.

Contact: sarahunsucker@gmail.com

Grades Continued:

Projects will be evaluated on your:

• Ability to meet project requirements.
• Ability to plan and conceptualize each project (sketchbook and one-on-one discussion).
• Ability to place you work and your classmates work into a social, historical, and cultural context.
• Quality of craftsmanship.
• Demonstration of competence with materials, tools, and technique.
• Understanding of key concepts from lectures and discussions as demonstrated through your projects.
• Quality of presentation of work during critiques.
• Ability to clearly communicate your ideas through the work and to have a point of view apparent in the work.

Office Hours

Offices hours are at 5:30 PM on the following dates.  Office hours take place in the sculpture studio, room Z -102 unless otherwise specified.  Meetings will be 15-30 minutes.  Please make an appointment with me in class or email me in advance.  Please feel free to take advantage of the designated office hours if you have any questions, concerns, or need technical help with your work.

Days/ Dates                  

Thursday 9/29        

Thursday 10/13

Thursday 11/10

Thursday 12/1

Tuesday 12/13

Thursday 12/15

Important Safety and Conduct Information:

• You must be approved by our tech before using any power tools.
• You may not use power tools unless there is an instructor or a tech in the studio.    
• Open toed shoes are prohibited in the studio.  You will be asked to leave if you are wearing sandals or flip flops to class.  This may result in a tardy or an absence on your record.
• Abide by all safety rules and regulations presented to you by our tech.
• If you are unsure of how to do something or need help, always ask for help. 
• Do not enter the studio if you are intoxicated or impaired by any means. 
• Headphones/ iPods may only be used when specified, never during lectures, demos, or while using studio equipment.  
• Please smoke only in designated areas on campus, not outside the studio door. 
• Cell phone can be used in the class room for obtaining image references and research. Talking and texting are prohibited in the studio during class.

 Important Safety and Conduct Information Continued:

All ringers must be turned off before class.  Restrict phone use to the breaks    when you are outside of the studio. 

• The floors and work surfaces must be clear and free of obstructions; personal items must be stored in lockers or under the tables.
• Professional conduct is required at all times to ensure a safe and productive environment.  This means: no horse play, no disruptive behavior, no harassment, no outside guests in the studio during class without permission, and respect for others in the class is vital.
• Academic dishonesty (i.e., plagiarism of art or writing, cheating, or taking other people's materials) will not be tolerated.  These actions are subject to sanctions by the college.  

Required Materials

$10 green PCC bank issued Material Card

1 9" x 11" sketchbook

Various drawing materials

Scissors

2 1 gallon flexible buckets

2 - 4 1" - 2" chip brushes

1 1/2 " and 2" putty knives

Protective eyewear

Dust masks

Various grits of sandpaper

Digital camera or camera phone

1 set of clay tools

Materials for projects

Extra rubber gloves

Murphy's Oil Soap

Mineral oil

Syllabus Sculpture 25 Sec. 0061 Fall 2011

Course Syllabus

Course Description:

Art 25 is an introductory sculpture studio course that explores the expansive field of sculpture.  The course engages the history and theory of three dimensional objects from traditional and non-traditional perspectives.  Students will investigate everything from space, form, volume, and texture, to time, site, context, and experience through object-making.  This course will place emphasis on exploring plastic arts beginning after the turn of the 20th century, and move to present day work.  Students will learn to expressively merge form and content to make works relevant to their experience, but within the context of current trends, movements, and discourse.  

Student Learning Outcomes (SLOs) :

• Students will demonstrate skill in basic construction techniques, mold-making and casting.
• Students will demonstrate creative solutions using various materials in making discrete objects and installation work. 
• Student will acquire analytic skills to discuss formal, technical and conceptual ideas in critiques.

Course requirements:

 1. Sculpture Projects:

The following four studio assignments must be completed and critiqued by the            class on time.  Detailed hand-outs and discussion will further outline project requirements.

            Project 1:  Traditional Bust  in 1/2 Scale

            Additive Processes

            A. Clay modeling

            B. Waste Mold & Plaster Cast

            Project 2: Finding Form  in the Abstract Object

            Reductive Processes- Foam Carving

            Project 3:  Make a Machine

            Construction- Found objects, assemblage, mechanization, kinetic art.

            Project 4: Public Art Project Proposal

            Collaboration-  Monumental Scale, site specificity, civic planning.

Course requirements continued:

2.  Paper: One typed two page, double spaced, 12 pt. font,  with 1" boarders, review of a current contemporary sculpture exhibition.  This should include background on the artist and their work, a detailed description of the work and venue you are reviewing, and a critical analysis of the work( what do you think about the work?).  A list of current on going exhibitions in the area will be provided.

3. Sketchbook: Each student must keep a hardbound 9" x 11" sketchbook.  This book must contain proposals with preliminary sketches for each assignment, notes on class lectures and discussions, notes on assigned readings or in-class exercises.  Collage, drawing, painting, etc.  expressing ideas and interests pertaining to your sculpture practice.  This book is to be updated weekly. Your sketchbooks will be graded at the mid-term and again during the final week of class. 

4. Participation: Attendance to all classes is of the utmost importance.  You must attend a minimum or one additional lab/studio hour per week (times and days when a tech or instructor will be present in the studio will be announced).  You must sign in on the yellow sheet by the cage upon arrival.  Additionally, you must keep a log of your hours on the sheet provided in this packet, and it is to be turned in at the end of the semester.  Good participation includes but is not limited to: Being prepared and having all materials for studio work periods, being a contributor to class discussions and critique, participating in technical demos and workshops, contributing to the blog weekly, cleaning and maintaining studio, and always being professional and respectful of peers.

Grades:

Projects:  60%  or 600/1000 pts. (150 pts. each)

Sketchbook:  20% or 200/1000 pts.

Participation:  10% or 100/ 1000 pts.

Paper:  10% or 100/1000 pts.

Extra credit: TBA, worth up to 10 pts.

Point Breakdown:

F    0-186

D-  187-254 D 255-322  D+  323-390

C-  391-458 C  459-526 C+ 527-594

B-  595-662 B 663-730  B+ 731-798

A- 797-864  A  865-932 A+ 933-1000

* Good class participation and/or the extra credit can be beneficial to your standing.

Grades Continued:

Projects will be evaluated on your:

• Ability to meet project requirements.
• Ability to plan and conceptualize each project (sketchbook and one-on-one discussion).
• Ability to place you work and your classmates work into a social, historical, and cultural context.
• Quality of craftsmanship.
• Demonstration of competence with materials, tools, and technique.
• Understanding of key concepts from lectures and discussions as demonstrated through your projects.
• Quality of presentation of work during critiques.
• Ability to clearly communicate your ideas through the work and to have a point of view apparent in the work.

Office Hours

Offices hours are at 5:30 PM on the following dates.  Office hours take place in the sculpture studio, room Z -102 unless otherwise specified.  Meetings will be 15-30 minutes.  Please make an appointment with me in class or email me in advance.  Please feel free to take advantage of the designated office hours if you have any questions, concerns, or need technical help with your work.

Days/ Dates                  

Thursday 9/29        

Thursday 10/13

Thursday 11/10

Thursday 12/1

Tuesday 12/13

Thursday 12/15

Important Safety and Conduct Information:

• You must be approved by our tech before using any power tools.
• You may not use power tools unless there is an instructor or a tech in the studio.    
• Open toed shoes are prohibited in the studio.  You will be asked to leave if you are wearing sandals or flip flops to class.  This may result in a tardy or an absence on your record.
• Abide by all safety rules and regulations presented to you by our tech.
• If you are unsure of how to do something or need help, always ask for help. 
• Do not enter the studio if you are intoxicated or impaired by any means. 
• Headphones/ iPods may only be used when specified, never during lectures, demos, or while using studio equipment.  
• Please smoke only in designated areas on campus, not outside the studio door. 
• Cell phone can be used in the class room for obtaining image references and research. Talking and texting are prohibited in the studio during class.

 Important Safety and Conduct Information Continued:

All ringers must be turned off before class.  Restrict phone use to the breaks    when you are outside of the studio. 

• The floors and work surfaces must be clear and free of obstructions; personal items must be stored in lockers or under the tables.
• Professional conduct is required at all times to ensure a safe and productive environment.  This means: no horse play, no disruptive behavior, no harassment, no outside guests in the studio during class without permission, and respect for others in the class is vital.
• Academic dishonesty (i.e., plagiarism of art or writing, cheating, or taking other people's materials) will not be tolerated.  These actions are subject to sanctions by the college.  

Required Materials

$10 green PCC bank issued Material Card

1 9" x 11" sketchbook

Various drawing materials

Scissors

2 1 gallon flexible buckets

2 - 4 1" - 2" chip brushes

1 1/2 " and 2" putty knives

Protective eyewear

Dust masks

Various grits of sandpaper

Digital camera or camera phone

1 set of clay tools

Materials for projects

Extra rubber gloves

Murphy's Oil Soap

Mineral oil

Hand lotion

Lab Fees

What is provided?

The lab fee paid at enrollment covers some things you will use for you projects. These items may include plaster, clay, cement, armature wire, chicken wire, hemp/or burlap. These items are always subject to availability.  Lab fees also go towards the care and maintenance of hand and power tools used in the studio. 

What is not provided?

You must pay for some items with your green PCC bank card.  These items include, but are not limited to mold compounds and rubber, plaster bandages, safety goggles, chip brushes. To purchase any items available in class, see me or the tech.    

You will have to acquire the bulk of your materials outside of class.  Your budget may influence the materials you choose and ultimately the outcome of your projects.  Expect to spend some money, but also think about ways to be innovative with limited resources.  The materials you choose are important to the content and meaning of your work.  Limited resources are never an excuse for poor presentation.  A list of places where you can find tools materials, and inspiration is in the back of this packet.

Local Art Shows to See

Pacific Asia Museum
46 North Los Robles Avenue
Pasadena, CA 91101
(626) 449-2742

www.pacificasiamuseum.org


Wednesday through Sunday 10 a.m. to 6 p.m. Beyond the Page: The Miniature as Attitude in Contemporary Art from Pakistan

February 18, 2010 – June 27, 2010
In the Changing Exhibition Galleries

It Was a Little Demon, I Can tell You
Hamra Abbas, It Was a Little Demon, I Can tell You, 2008 Paper collage,
Perspex box, 26 x 211 x 30 cm; Courtesy of the artist and Green Cardamom

The past two decades have witnessed a vibrant revival of miniature painting, a genre developed at Islamic courts in South, Central and West Asia between the 14th and 19th centuries. In recent years, artists have reinvented the traditional practice, negotiating a fine balance between historical practices and conceptual concerns. Collectively, their innovations have resulted in the "new miniature" movement – the subject of this exhibition.

Beyond the Page exhibits the work of thirteen contemporary artists who engage the miniature as practice and concept. Roughly half of the artists in the exhibition trained in traditional miniature painting at the National College of Arts in Lahore, Pakistan, and assimilate new imagery and materials. The remaining artists, though not trained in miniature painting, explore the concept of the miniature in such diverse forms as photography, textile, sculpture and installation. As these artists emigrate, travel and exhibit internationally, the "new miniature" movement has become a global phenomenon that demonstrates the vitality of contemporary Pakistani art and, more specifically, how aspects of "tradition" are essential parts of contemporary culture.

The exhibition will be on view from February 18 until June 27, 2010, and features fifty works by thirteen artists. The exhibition is guest curated by Hammad Nasar with Anna Sloan and Bridget Bray and organized by Green Cardamom and Pacific Asia Museum.

___________________________________________________
Pasadena Museum of California Art
Pasadena Museum of California Art
490 East Union Street
Pasadena, CA 91101

626-568-3665

LOCATION AND PARKING

The museum is located one block north of Colorado Blvd. between Los Robles Ave. and Oakland Ave.
Free parking is available on the ground level of the museum and additional public parking is available across the street on Union.
---> See Map
MUSEUM HOURS

Wednesday - Sunday
12:00 - 5:00 p.m.
The Museum is closed July 4th, Thanksgiving Day, Christmas and New Year's Day.

ADMISSION

$7 for Adults
$5 for Seniors and Students
Free to Members
Free the first Friday of the month
*Special offer with the Pacific Asia Museum on Colorado and Los Robles: Attend both museums in the same day and receive 50% off admission at the second museum when you present proof of entrance.
www.pacificasiamuseum.org

The Ulysses Guide to the Los Angeles River


Showcasing new “currents” in art inspired by the Los Angeles River’s strange yet invigorating presence in the City of Angels, the exhibition will encourage the public to take a closer look and examine the details of the River, from its zoological offerings to its artistic ones, which make it a living representation of Los Angeles culture. The artists in the exhibition are as diverse as the city itself, ranging from established artists such as Charles “Chaz” Bojórquez to emerging artist Rob Sato. Along with framed works, this exhibition boasts site-specific murals, which the artists will paint and draw directly upon the walls of the PMCA space, and an installation that recreates the setting of the LA River along with a few imaginative embellishments. The exhibition is inspired by the book, The Ulysses Guide to the Los Angeles River, by Christopher D. Brand, Evan D. Skrederstu, Steve Martinez, and Matthew Brand.


_______________________________________________________________

Stitches

Armory Center for the Arts
Caldwell Gallery
145 N. Raymond Ave.
Pasadena, CA | View Map
April 11 – June 6, 2010
Opening: Saturday, April 10th, 7-9pm
Hours: Tuesday-Sunday, Noon-5pm
Curator: Sinead Finnerty-Pyne

The Armory Center for the Arts presents Stitches, a group exhibition exploring contemporary art approaches to the techniques of sewing, knitting and weaving. Participating artists include Jane Brucker, Lauren DiCioccio, Elisabeth Higgins O’Connor, Ruby Osorio, Titus Kaphar, Nuttaphol Ma, Ulrike Palmbach, Maria E. Pineres, Dinh Q. Le, Jim Richards, Elias Sime, and Nicola Vruwink. The exhibition will include two dimensional and freestanding sculptural works as well as large scale site-specific installations.

Previously exploring art deconstructed through cutting in her 2009 exhibition Under the Knife, Finnerty-Pyne now explores construction through various forms of stitching. From sewing to knitting, crocheting and weaving, Stitches highlights the visions and practices of twelve culturally diverse artists working with principles and applications inspired by craft, textile, and fiber art. The exhibiting artists share an unconventional approach to these versatile and often obsessive art forms by creating process and material-based works utilizing substances ranging from yarn and thread, to found objects and recycled clothing.

Stitches aims to illustrate the sophistication and complexity of work that has evolved out of the twenty-first century global curiosity with domestic practice – in some cases, descended from feminist practice in the last part of the twentieth century. The work in the exhibition stands in contrast to concurrent fascinations with slick fabricated and computer generated works. In a world where mass-production seems to have peaked, these artists, both male and female, embrace these once antiquated and homespun techniques and experiment with how far they can push them physically, metaphorically, and conceptually.