Field School → On OCT 28, we will visit galleries in Chelsea. Until Friday, Oct 22, 5pm: For our visit to Chelsea on October 28, select two exhibitions that relate to your research interest and post a link to the gallery into this document. Add one sentence how this is relevant to the class or your research. The schedule for Oct 28 will be shared on this website. Use these links to identify exhibitions: See Saw Gallery Guide — APP NY Art Beat — Website ChelseaGalleryMap — Website GalleriesNow — Website
Designing Programs → Karl Gerstner states that designers should not create solutions for problems but programs for solutions. For our last experiment, you will deconstruct a creative practice of your choice and appreciate the challenges of crafting language that instructs somebody else.
→ Asynchronous Read, Watch, Write
Karl Gerstner → Designing Programs, excerpt, google drive & Canvas. Skim! → Monograph Review @eye magazine → Think program: catalog of the exhibition “designing programs/programming designs” @MoMA
Yoko Ono → Grapefruit: A Book of Instructions and Drawings (1964). Follow the link in the article to see an excerpt.
→ Prepare 1. Experiment 6: Designing Programs Develop a program—a set of instructions—that guides a peer to visually respond to their research inquiry & develop new records for their archive. Use this form to submit your set of instructions on or before Oct 27, 6pm. → The process can be inspired by the methodology of a specific artist, designer or a general creative practice. Here is an example from Fashion Design. → Step 1 needs to address ways to connect to a research topic (“identify an object”, “Visit an environment”, “Find a photograph”, …) → The set of instructions needs to include a way to document a “visual response”. → Enact your own instructions to test them.
“I like to print on things that already have a past.” (Karel Martens) In other words: combining a visual response to your research inquiry with found imagery creates a dialog with the past (and the future?).
→ Prepare Experiment 4 — Found Imagery Use a printing technology of your choice—ranging from potato to risograph—to print visuals and/or words on found printed matter. Watch this video introducing Karel Martens work & process. → (1) Think about found imagery that relates to your research topic. You can use things you find in the streets, the supermarket, receipts, pages of books, flyers, packaging (…). → (2) Develop simple visuals (shapes) or words/sentences that represent your research topic. → (3) “Print” them on top of the found imagery. Create at least 3 versions/combinations—a mini series. → (4) Take pictures of your work and upload them to google drive week 8.
Archive Prototype Use this week’s peer feedback to update your archive prototype. Arrange your updated 5 visuals and captions on a letter size landscape document, export as PDF and upload to google drive folder week 8.
October 7, 2021
by Pascal Comments Off on WEEK 6 | Archive ⇄ Color
So far, we explored how the order of visual elements shapes a narrative, how simple compositions create meaningful communication, and how materiality can impact visual responses. This week, we will focus on color in the context of artistic & scientific practices. Your work for this class will continue in two ways: weekly experiments to explore methods to create visual responses. There is no right or wrong way to conduct these experiments. Observe yourself and identify methodologies that resonate with you. At the same time, we will start prototyping your archive to test its concept and strategy.
→ Asynchronous Read, Watch, Write
→ Study all links in the right column to learn more about color in the context of artistic/scientific practices. → Read: Rudolf Arnheim: Art and Visual Perception—Color, pp 330-337. → Skim: Werner’s Nomenclature of Colours (1814). → OPTIONAL: If you are interested in a more general introduction to color, take a look at the tutorial “Color for Design and Art” by Jim Krause. Use your newschool account via TNS library to login.
Experiment 4: Archive ⇄ Color → Identify a natural or cultural object, an environment, or a situation that represents your research topic or parts of it. → Deconstruct it and identify 12 related colors/shades. All analog and digital processes are allowed. → Give a name to each individual color. Everything BUT the name of the color is allowed. → Arrange the 12 colors and their names/caption as a “micro-archive” on a letter size canvas/document. Don’t add your name or your research topic to it. → Export as PDF and upload to our google drive, week 7.
Archive Prototype → Use the feedback from this week’s class to identify 5 records that could be part of your final archive—each should have a caption. Bring to class printed or on screen.
Last week, we explored visual means to study physical environments: photography & collaging. This (and next) week, we will be looking into materiality and reading surfaces to create a visual response to the physical world. Material culture is the aspect of social reality grounded in the objects and architecture that surround people. It includes the usage, consumption, creation, and trade of objects as well as the behaviors, norms, and rituals that the objects create or take part in. Here is an introduction: What is Material Culture? by Sophie Woodward on YouTube — it is OPTIONAL, watch it if you have time and specific interest.
Experiment 3 — Material Culture: Rubbings Before you do anything, make sure to study all links in the right column. → Step 1 — Observe Use pencil and paper to create rubbings of surfaces or things related to your research inquiry. Document your process. → Step 2 — Animate Use these rubbings to create an animated gif in Photoshop. Frames: at least 10 Color: black and white Dimensions: free, stay below 1000px Tutorial: How-To-Make-An-Animated-Gif → Step 3 — Share Upload your animated surface investigation (the gif) & 5 images that documents your process to the folder “week 6” on google drive.
Next week (10/7):Individual Meetings VIA ZOOM Bring to our meeting: → Experiment 2 (collages) & 3 (gif) → Based on the manifestos we explored in class last week, develop your own mini-manifesto with 5 declarations, intentions, or views to contextualize your research topic.
While you are defining your individual research inquiry we will explore experimental ways of visual form-making. These methodologies can inspire the visual direction of your final archive project. This week’s experiment takes you out in the streets (if that is safe for you) for field studies and footage gathering.
→ Scott McCloud. Understanding Comics, Chapter 5, pp 118-137.
→ Principles of Visual Language. Kennedy Art Center.
→ OPTIONAL: Beautiful (Then Gone). A short documentary on the work and life of San Francisco designer, Martin Venezky. (14min)
→ Prepare Experiment 2 — Urban (Type) Collage (It is ok to not include type)
→ Step 1 Identify Based on your research inquiry, decide for a physical location near to you. A street, a building, a corner, a park, a room, (…)
→ Step 2 Observe Take a camera (mobile phone) and and spend at least two hours at your location. As a visual journalist, study the environment from different perspectives (zoom in, zoom out) and take pictures of lines & shapes, positive and negative spaces, patterns & textures, and typography & letters.
→ Step 3 Create Tutorial: Using Photoshop to create the Urban Type Collages. Get the password from Canvas. Use your images to create 7 collages that express 7 of the 9 “Principles of Visual Language” discussed in class: 1. 7×7 inches, black on white only. 2. Apply the demonstrated method combining: Image>Adjustment>Threshold and “Multiply” layers. 3. Take into consideration how your seven compositions become a series to represent the same thing in different ways. Even though it is called “Type Collage” not all compositions have to include type. 4. Upload to google drive, week 5, “Urban Collages”.
The records (images) of your archive will tell a story. How does the order of things impact the narrative you are intending to convey? This week, we will explore ways to arrange visual material and playfully implement elements & principles of visual language.
Readings: 1. This might help with your homework for next week: Koren, Leonard: Arranging Things, pp. 41-47
2. This might help to think about your research inquiry: Colomina & Wigley: Are We Human, chapter 1
→ Prepare Experiment 1 — Bilderatlas Create 3 plates of a speculative atlas about your research topic:
Use all 16 images—your 12 images (you can change these if you need to) + 4 images “stolen” from peers—on each panel.
Take time to study the images and arrange them inspired by aspects of your research inquiry. You can also revisit the instructions everyone submitted this week. Only rule: you have to come up with three completely different ways of laying them out.
Go back to your research inquiry (or area of interest) and give a title to each plate.
Write one sentence about your process for each plate.
Both title and process should not be part of the plate.
You can use any software or analog process for this assignment.
Submission/ bring to class: 3 plates, each on a tabloid size paper (11 x 17 inches)
“Seeing per se means thinking about the world and this actually takes place on different levels at the same time,” says Wolfgang Tillmans in an interview for Fondation Beyeler. Reflecting on his artistic approach, Arthur Jafa has said that he’s “driven by an impulse to consolidate things that were there, but were dispersed.” (Triple Canopy) This week we will expand from one object to 12 images that tell a story. How important are order, sequence, and arrangement?
Readings: 1. Research for people who think they rather create, Vis Dirk, pp 25-31. 2. Read all peer responses to the archive screening (you will find them in the week 2 folder).
1. After reading all peer responses, reach out to at least one of your peer students in an email. You can share a thought, inspiration, ask a question, (…). The content of the message will NOT be shared in class but please cc me (ONLY) on your first email so I can see you initiated a conversation.
2. Select one object from your PECHA KUCHA and find 11 related images. These can be found images, your own, or a mix. Print these 12 images. 4×6 inch (landscape or portrait).
3. After watching/reading this week’s articles, look at your images and come up with ten ways to give them an order. This can be based on content, form, or speculation. Write down each way of organizing as a one-line instruction and add them to the shared document “Visual Narrative” in the week 3 folder of our google drive.
This class explores the relationship between form and content: How is meaning constructed and communicated through visual language? Through observing, collecting, analyzing, writing, and form making, students apply design processes involving visual research, concept generation, and craft skills. Driven by research interest, you will use digital and analog means to build visual archives. These collections are approached as a resource of critical inquiry and to respond to current socio-political issues. So, what is your research interest?
→ Asynchronous Read, Watch, Write
Archive as Method. Screening. (password on Canvas). As a response, summarize your interest in archives in 200 words. Use at least one example from the screening. Add to the google doc in our shared google drive WEEK 2. Submit by 9/8 6pm ECT
John Berger: Ways of Seeing, pages 7-10 (min)
Hillary Collins: What makes a good research topic?
Take pictures of 5 objects that represent your research interest.
All 5 objects can represent the same topic or diverse areas of interest.
Create a PDF with 5 pages, each page has one object.
Upload the PDF to the shared google drive into the folder week 2: PECHA KUCHA
Be able to talk about each image for 20 sec.
Make a test at home!
→ In the 1920s, the historian of art and culture Aby Warburg (1866-1929) created his Bilderatlas Mnemosyne tracing recurring visual themes and patterns across time. Last fall, an exhibition at HKW Berlin restored the last documented version of this atlas.
→ Archive as inquiry: objects of the everyday. Belgian photographer Barbara Iweins classifies and archives her personal belongings in KATALOG