AAM Flyer Intervention

Flyer Intervention! 

Create an original flyer design for xerox reproduction and distribution into on-campus settings as part of "Awareness Awareness Month".  The flyer is to incorporate humor, subversive, creative thought, intelligence and wit in both design and possibly through thoughtful placement.  Consider the work of designer Phil Jones and his photo set "Random Acts of Design". 

Develop an original concept or concepts - feel free to do more than one or a series of flyers. 

For Wednesdays class be prepared to share with us your ideas.  Consider your placement carefully!

Your subject matter may be purely humorous, satirical, political, absurd.  Have fun, be smart!

Awareness Awareness Month

Awareness Awareness Month

April 2^nd

Awareness walk – looking

-Bring cart ideas/concrete designs to class to share!

April 9^th

Countdown Clock Performance

-materials – bullhorn - Theresa

-t-shirts – Lacy

-system for telling time 1440 minutes checklist - Cory

-clipboard - Nicole

-watch - DJ

April 16^th

Selfie Tree

-everyone bring 10 hand mirrors

-natural hemp or fiber string - Chonny

-tags with string – Melissa

April 23^rd

(due on the 21^st)

Flyer Awareness Day (flyer intervention)

-individual flyers 50 each person

April 30th

Free Art Cart

-Still working on it!

20/20 - research/inspiration/ideation

20/20 - Research/Inspiration/Ideation

Research each of the 20 artists listed below.

WHERE TO START:
•If there are links to a specific work, please focus on this specific work in developing your idea.
•If the link is to a general website, or there is no link provided, search for further information on google, you are to consider the artist's work in general, choose a work, or works for inspiration.
•For each artist, explore their work in depth - their ideas, their locations, their audiences, their intentions, etc.  Read reviews, look for youtube videos, etc.  The links provided are a place to start!

WHAT TO DO:
•Develop one concept for a public artwork in response to each assigned artist.  Your concept should be in conversation with, or otherwise inspired by each of the artists in question.

HOW YOU WILL SHARE YOUR IDEAS:
•You will read to the class your list of 20, one sentence ideas, during Monday's class, March 3rd.
•Please print your list of ideas which you will turn in to your instructors.

ARTISTS/COLLECTIVES/WORKS:
1) Steve Lambert - http://visitsteve.com/made/capitalism-works-for-me-truefalse/
2) The Absurdists - http://www.theabsurdists.com/ifyouconsideraudiotour.html
3) Natalie Jeremijenko - http://www.ted.com/talks/natalie_jeremijenko_the_art_of_the_eco_mindshift.html
4) Future Farmers of America - http://www.futurefarmers.com/
5) Bill Fontana - http://www.resoundings.org/
6) Jessica Findley - http://www.aeolian-ride.info/video.html
7) Mel Chin - http://melchin.org/
8) Eve Mosher - http://www.evemosher.com/
9) Harrell Fletcher, Miranda July - http://www.learningtoloveyoumore.com/
10) Nancy Holt
11) Francis Alys - http://www.francisalys.com/

12) Olafur Eliasson - http://www.olafureliasson.net

13) Janet Echelman - http://www.echelman.com/

14) Tomás Saraceno - http://www.tomassaraceno.com/

15) Igor Grubic -

http://www.openspace-zkp.org/2013/en/projects.php?y=2010

https://www.academia.edu/908919/Igor_Grubic_366_liberation_rituals

http://www.artvehicle.com/feature/23

http://art-collection-telekom.com/en/artist/igor-grubichttp://www.irmielin.org/nothere/igor-grubic/

16) Rafael Lozano Hemmer - http://www.lozano-hemmer.com/

17) Democracia (spanish collective)

http://www.democracia.com.es/proyectos/ser-y-durar/

18) Pawel Althamer - http://www.skulptur-projekte.de/kuenstler/althamer/

http://www.fondazionenicolatrussardi.com/exhibitions/one_of_many.html?pager_page=2

19) Think Again - http://www.agitart.org/

20) Joana Vasconselos - http://www.joanavasconcelos.com/index.aspx

Street Art Links

Reverse Grafitti by "Moose"

Street Art Links:

Great Street Art : theCHIVE  

Flickr: HOT+TEA's Photostream  

FREE | Sean Martindale  

Light The Underground  

Phildesignart  

I WILL TALK WITH ANYONE… | Steve Lambert

“New York Street Advertising Takeover” Brings Art to Over 120 Illegal Billboards in NYC | Wooster Collective  

Billboard Art Project Artist Application culture jamming - Google Search Wooster Collective: Culture Jamming Archives  

Magda Sayeg - Knitta, Please  

12 MUST SEE Guerrilla 3D Projection Mapping Examples | Creative Guerrilla Marketing LATLAS.NET  

Slinkachu.com - Home

http://xmarkjenkinsx.com/

Andy Goldsworthy Digital Catalogue: Home  

The Art of Jim Denevan
The Billboard Liberation Front  

IPHOTO - Presence - Absence

"Little People", Slinkachu http://www.slinkachu.com/

Assignment #1: IPHOTO - Presence - Absence

Due: February 3rd. 
(images posted to the class tumblr)

This small assignment consists of:

Two selected “curated” images, one of A and one of B:

A-   Physical Presence

Any form of site-specific intervention/transformation that you create where a form of temporary/ephemeral public art gesture is implied.

In this assignment your presence/figure/shape/shadow persona is a determining factor for the art piece and the concept it conveys.

Could be at the quotidian or urban space or nature landscape

B-   Physical Absence

Any form of site-specific intervention/transformation or found/ready made expression.

In this assignment your intervention or documentation determines the concept or meaning of the piece.

GOOD LUCK and most of all be creative and ENJOY!!!!!

Please read the following very carefully - we used these for the previous offering of this course to good effect:

The "Do No Harm" Rules of Engagement:

As you venture into public spaces to make work, here are some guidelines to follow.  

1) Temporal, non-permanent works only ie: no permanent damage to public or private property.

2) Temporal, non-damaging materials and processes only.  (no spray paint, markers, etc.).

3) Do not get arrested.  If you are asked by a property owner not to do something, be nice, friendly and move on.  If you get approached by the police, plead "art student", be apologetic, do not get arrested.  Don't do anything that would lead to getting arrested.  

3) Be smart, conscientious and thoughtful about your materials, locations and processes and you should not have any problems. 

Art 404 Art in Public Places Syllabus

Yarn Bombing

Art 404 Art in Public Places

Monday and Wednesday 4:00pm - 6:45pm CFA room 207

Co-Teachers:

-Professor Joseph DeLappe Office Hours MW 11am – 12:45pm CFA 158 784-6624
delappe@unr.edu

-Erika Harrsch SOTA Visiting Artist in Residence


Office Hours MW 11am – 1:00pm JTB 114

eharrsch@unr.edu

Art 404 R Art in Public Places

Lecture + Lab: (1 + 5); 3 Credits Exploration of the production of works which incorporate placement in non-traditional sites or interaction with non- traditional audiences. Maximum 6 credits. (Formerly ART 462; implemented Fall 2003.) Prerequisite(s): 12 credits studio art.

Course Description:

The accepted conditions for the exhibition of modern and contemporary art remains the "White Box" gallery or museum.  In this course, we will be considering alternative strategies for the creation, display and dissemination of contemporary art that seeks to engage the public in everyday contexts.  Through a series of readings, discussions, brainstorming sessions project experiments and critiques, students will engage in an active learning environment towards developing critical understanding and crucial on the ground experience engaging in public art in the community.  The course will explore a wide range of alternatives for the contemporary artist that lie outside of the museum and gallery system. This offering of Art 404 Art in Public Places will have a specific emphasis on interdisciplinary collaboration and community engagement.

Course Content:

This course will broadly explore a variety of possibilities for engaging the notion of “Art in Public Places".  This will include the exploration of the myriad of creative strategies employed by contemporary artists to engage the public. Topics and projects will include but not be limited to: "monumental public art", "street art", "graffitti", "social media", "the internet as a public space", "art and activism", "art as public service", "community interaction", etc.

Lecture/Lab Component:


The course will meet for twice weekly. Class time will be devoted to lectures, demonstrations, reading discussions, field work, productions sessions and critiques. Students are required to work at minimum an additional 6 hours per week of work outside of the scheduled class times (studio production, reading assignments, etc.)

Course Requirements:

1) Attendance is mandatory at all scheduled class meetings. More than three unexcused absences will affect your final grade. Please arrive on time and prepared to participate in all course activities.

2) Participation in all class critiques, reading discussions and brainstorming sessions is expected and mandatory.

3) You will receive a written evaluation and letter grade and feedback for each completed project assignment.

4) Required Outside Lectures/Exhibitions/Events: Each student is required to attend two approved lectures and two outside exhibition/performance/film-screenings, these are regularly announced in class. We will provide you with a list of approved events both on campus and off. You are required to write a one to two page critical summary of each event and two questions to ask the speaker (extra credit will be given to those who actually ask their question at the event!). 

5) Required Film Screening Event:

“If You Build”

Nevada Museum of Art, Thursday, February 13^th 6pm to 8pm

http://www.nevadaart.org/shop/productview?pid=1801

Readings: 


-Reading assignments will be both online and in the form of various Xeroxed articles.

Supplies:

These will be determined as the course progresses.  There is no lab fee for this course.  As such all project expenses will be met by the individual student.  One should be prepared to spend between $25-$75 on materials for this course.

Grading:
Students will be graded according to how well their projects reflect an understanding and a willingness to experiment with the techniques, issues and practices covered in class.

•Grades for the critiques based on quality of work, collaborative engagement, evidence of time spent, attainment of project goals, articulation of processes, responses to others work, etc.
•Grades for projects based upon creativity, innovation, excellence, finished nature of project, original thought, conceptual properties, and execution.
•Grades for the class blog based on participation.
•In class participation grades based upon attendance, notes required for medical excuses.
•Grades on reviews based on clarity of description of event, concise (1-2 pg) critique and analysis, original thoughts and responses.

Grading Rubric
•70% Studio Projects (collaboration/participation/group projects) - 700 pts
•10% Attendance. - 100 pts (28 class meetings weeks x 4 pts per week)
•10% Class Blog – 100 pts
•10% Written lecture and exhibition reviews. - 100 pts ( 4 reviews x 25 pts ea)
total points: 1000
A = 1000-900
B = 899-800
C = 799-700
D = 699-600
F = 599-000

We will meet with each of you individually at the midterm to discuss your progress in the course.

The “+” and “-“ system will be used for grading.  http://www.unr.edu/provost/curriculum-central/curricula-forms-and-guidelines/syllabus-guidelines/nshe-grading-policy
Outcomes:
•Students will have demonstrable skills involved in creative problem solving, critical thinking, group interaction and collaboration.
•Students will gain an advanced level of thinking of a Post-studio era where artists pursue their practice by engaging an idea, then developing a plan that involves collaboration, combination of media, technologies and techniques.
•Students will have a broad, experiential opportunity to develop their ability to create and be able to produce artworks employing traditional and nontraditional tools and media in nontraditional settings. 
•Students will learn to participate in the practice of being contemporary artists as they invent and expand their capabilities working with collaborative and community based practices.
•Students will develop a proficiency in writing about their creative practice and others while learning best practices for basic website/blog development.
•Students will have evidence of their proficiency in their work. This will be through final critiques and through the public exhibition and engagement with individual and group, collaborative projects.
Policy on Academic Dishonesty:
"Cheating, plagiarism or otherwise obtaining grades under false pretenses" constitute academic dishonesty according to the code of this university. Academic dishonesty will not be tolerated and penalties can include canceling a student's enrollment without a grade, giving an F for the course or for the assignment.
For more details, see the University General Catalog.
Policy on Disability:
If you have a disability and will be requiring assistance, please contact me or the Disability Resource Center (Thompson Building Suite 100) as soon as possible to arrange for appropriate accommodations.

Academic Success Services:  Your student fees cover usage of the Math Center (784-4433 or www.unr.edu/mathcenter/), Tutoring Center (784-6801 or www.unr.edu/tutoring/), and University Writing Center (784-6030 or http://www.unr.edu/writing_center/. These centers support your classroom learning; it is your responsibility to take advantage of their services. Keep in mind that seeking help outside of class is the sign of a responsible and successful student.

Statement on Audio and Video Recording:
“Surreptitious or covert video-taping of class or unauthorized audio recording of class is prohibited by law and by Board of Regents policy.  This class may be videotaped or audio recorded only with the written permission of the instructor.   In order to accommodate students with disabilities, some students may be given permission to record class lectures and discussions.  Therefore, students should understand that their comments during class may be recorded.”