Work hard on your portfolios. I will be available via e-mail for the rest of the day if you have any quick questions.
Thanks,
J
Wednesday, December 9, 2009
Thursday, December 3, 2009
Wednesday, December 2, 2009
For Thurs.
Hi folks:
Just a reminder to look over the Rules for Writers for Thurs. (pages noted to skim in schedule).
Also, a few of you (only a few) have missed the last two classes and have yet to get your essay three back. As we are not having class next Tuesday, tomorrow will be your last certain chance to get these. Be there.
Finally, if you owe me any first drafts, the same goes for you. Thurs. is the last chance to turn these in. You will receive e-mailed comments (unless you sign up for an appt.) and at this stage, I'll have to dock a few points from your final possible grade. In any case, get them in. Hard copies only. Stapled.
Good luck with the rest of the semester, friends. You know what this class requires--revision , thoughtful revision. As for your other classes, I wish you well.
Josh
Saturday, November 28, 2009
Reading for Tuesday, 12.1.09
Hi Folks:
Please print and read a "A Good Man Is Hard to Find" by Flannery O'Connor. You will find the story here. O'Connor is considered a master of the short story. This story, published in 1955, takes place in the south and engages issues of religion (O'Connor was a devout Catholic) and of race. Be warned that this story contains racial slurs, though if you read the story closely O'Connor may be trying to do something constructive with these slurs. Please avoid repeating them directly in class discussion, but we will talk about their role in "A Good Man is Hard to Find."
When reading the story pay attention to how characters speak of the past, the South. This is probably O'Connor's best known story. What do you think makes it a classic?
Enjoy.
Monday, November 23, 2009
MLA Info
Hi folks: For those of you who wrote about the following article, below you will find enough information to compile a WOrks cited entry. THis was published in THE New York TImes. Please correct your WC's for the portfolio.
Has Conceptual Art Jumped the Shark Tank?
Sunday, November 22, 2009
Rules For Writers and a Reminder
All of the Rules for Writers paging, for skimming, are correct on the original schedule. Be sure to read "Howl" from here and read 27-31 and skim 80-120 in Rules For Writers for Tuesday.
Thursday, November 19, 2009
Check This Out
The Days May Be Grim, but Here’s a Good Word to Put in Your Pocket
“The Waterfalls” flowed in the East River. “The Gates” snaked through Central Park. Now New York’s latest large-scale public art project is being exhibited in an even unlikelier space: your wallet.
Yana Paskova for the New York Times
Reed Seifer, the graphic artist who devised the “optimism” project in art school, with a new-look MetroCard.
On the back of seven million MetroCards distributed this fall is a single printed word: “optimism.” Composed in clean, bold, sans-serif letters, it floats in a sea of white just beneath the boilerplate fine print. Another seven million are on the way early next year.
At first glance, the word appears simple and unassuming, a non sequitur easily overlooked amid the blur of travel in the city. Even its creators acknowledge that many subway and bus riders may never see it.
But as unemployment in the city reaches a 16-year high, as corporations close and deficits mount, optimism has become a scarce commodity, aboveground and below. New York, it seems, could use a chance to restock.
“God knows people want to feel good, they want to feel up, they want to feel positive,” said Christopher P. Boylan, who oversaw the project at the Metropolitan Transportation Authority. “If I can make a couple of customers smile a day, that’s nice.”
The work itself is the creation of Reed Seifer, a graphic artist and designer who first printed the “optimism” logo on small buttons that he distributed as a college student.
“I’ve always loved art that exists in unexpected places,” he said recently, near his home in Hell’s Kitchen. “I like that maybe not everyone’s going to see it. Or maybe one day you just look and say, ‘Oh.’ ”
The MetroCard, a ubiquitous slip of thin plastic barely three and a half inches across, certainly qualifies as an unusual canvas for conceptual art. The back of the card is mostly reserved for historical factoids (“The first female subway conductor began work on Dec. 28, 1917”), safety tips (“Fold the stroller. Hold your baby”), or the occasional commemoration of a World Series win or Rockettes performance (“MetroCard saves you $10 to the Radio City Christmas Spectacular!”).
Occasionally, the card is also used for advertising, but those revenues have remained low, in part because of a lengthy production process. This year, the authority sold $165,000 worth of MetroCard ads, a fraction of its overall take in advertising revenue.
The MetroCard ad revenue in 2009 is nearly double the amount sold in 2008, but ads were still printed on fewer than 3 percent of the 120 million MetroCards produced in the first 10 months of this year — perhaps underscoring the relevance of “optimism” to an agency facing further budget cuts from the state.
Indeed, not all that the “optimism” project suggests is, well, optimistic. The word on the card can be read as an encouragement, a command, a taunt, an aspiration.
“I like that people can digest it in any way they choose,” Mr. Seifer, 36, said. “I accept all praise and criticism. I love artwork in which people perceive things beyond the intention of the artist.”
Despite its sunny surface, “optimism” originated in a darker place. Mr. Seifer was inspired by a maxim he found printed on a Domino’s sugar packet: “An optimist is someone who tells you to cheer up when things are going his way.”
An undergraduate at the time, studying art at Clark University, Mr. Seifer incorporated the phrase into his senior thesis, which focused on an incident with his father, who once offered an empty soda bottle to a homeless man collecting cans for redemption. The man refused, finding the offer patronizing.
To promote the project, Mr. Seifer created the “optimism” logo, a balanced, streamlined composition in Akzidenz-Grotesk, a 19th-century font considered a precursor to Helvetica. (An influential, widely used font, Helvetica is common in the subway system’s signage.)
“It’s very open and minimal, and you can see the line weights of the letter forms are all equal weight, so it’s not distracting,” Mr. Seifer said. “What I like about this typeface is it promotes without calling attention to itself, which is sort of what the ‘optimism’ MetroCard is about.”
“Optimism” buttons have been sold at the Whitney Museum of American Art and the New York Public Library, and handed out free by Mr. Seifer himself. Early last year, seeking a wider distribution, he got in touch with Creative Time, a nonprofit organization that works with artists on public art projects. The MetroCard idea came to him at an interview, after his initial plans were rejected.
Arts for Transit, an arm of the transportation authority, receives hundreds of ideas from artists. But Mr. Seifer’s plan, with its simplicity and ease of installation, caught the eye of Sandra Bloodworth, the program’s director, who immediately accepted it.
Riders and reporters were not informed when the word began appearing on MetroCards in September. The point, Mr. Seifer said, was for it to be intimate, a serendipitous discovery for the viewer. “It exists between the card and the person who receives the card,” he said.
As he designed the card, Mr. Seifer said, he did not take into account the small hole punched along the left edge of every MetroCard. In a happy accident, the hole lined up perfectly with the word, becoming a kind of period.
Mr. Seifer found this appropriate: “Optimism is about openings where people don’t expect to find them.”
Monday, November 16, 2009
Unit Four Prompt and Schedule
Essay Four: A Review of Something “Great”
This final essay will display the different writing modes and sets of skills that you have developed and practiced this semester, from narrative, to analysis, to argument. You are charged to find a creative work that you consider “great” and write a review extolling this “greatness.” The options include: a film, a poem, a short story, a sculpture, a graphic novel, a play, a designer’s seasonal collection, or a video game. No music (sorry). No sports. If you are not sure your topic will work, be sure to clear it before writing the essay. As an added challenge—I’d encourage you to write about something that is not your chosen creative activity. The reason: it is sometimes easier to write about something that you are not so closely invested in and it would be interesting to hear about how your creative point of view informs your appreciation of this creative piece.
This should be a thesis-driven essay--though the thesis need not be in the first paragraph--that is based not just on an opinion, but a substantiated argument. Sentences like, “I love the scene where Michael Corleone” will be less effective. Try instead to write something like: “When Michael Corleone pauses in the bathroom, before leaving to assassinate Sollozzo and the Irish cop, he places his hands on his hair in a moment of contemplation and the viewer sees that this character is thoughtful, determined, and about to be drastically changed.”
It will also be important to force yourself to focus thematically and incrementally. Is there a theme that is being developed? Does a character go through a particular crisis that teaches the audience something about humanity? Is there a particular moment, or line, or stanza, or dress, or panel, or… that says something much larger about the work of art, character, etc. If you find yourself making vague qualitative declarations (“this is just good”), point to something specific.
There are many ways to go about this: it will be necessary to show how your subject meets (or reacts against) certain artistic standards, and how the subject fits into a larger tradition. You will also need to address any “weaknesses.” Anticipate the questions or objections of someone who would dispute the quality of your subject. For this reason, it might be helpful to look at other commentary on your subject (but don’t ape one particular argument). You should use at least two outside sources for this essay, and cite sources according to MLA guidelines.
Protocols:
3 Full Pages (12 pt. font), plus Works Cited Page
A stunning title.
Two outside sources.
You can only use the word “great” one time (and only if necessary).
The Schedule (I will be adding short pieces with ample notice, or as in-class reading)
Hacker=Rules for Writers
11.17 Intro Prompt: Screen Film
11.19 Finish Film, Read Hacker 27-31
11.24 Skim Hacker, 80-120; Read Allen Ginsberg’s “Howl” http://www.poets.org/viewmedia.php/prmMID/15308
11.26 Thanksgiving: No Class
12.1 Read Flannery O’Connor Story (Handout), Skim Hacker 120-145
12.3 Reading TBA, Skim Hacker 270-311
12.8 No Class (Work Day, Appointments)
12.10 Portfolio Due
Sunday, November 15, 2009
Thursday, November 12, 2009
Peer Review
You know the drill. Take turns reading your essays aloud and then discuss:
1) The intro: is there a hook; is the debate defined; is the thesis well-developed?
2) Are you sure what the source article is? Does the writer engage the source article effectively? Does the writer quote and summarize the source article? Do these quotes have signal phrases and in-text citations?
3) How is the argument going? Does the writer have at least three points of support? If not, discuss possible points of support. Point to at least one point in the essay that could use further development.
4) Does the essay address counter-arguments (opposing view points)?
5) Does the essay engage in needless repetition? If so, point specifically to where cuts need to be made.
Wednesday, November 11, 2009
Hi Folks:
I thought it might be helpful to take another look at the Portfolio description, as first released in the Syllabus. There have been some questions about the process, and so the piece below should clear any of those up. It is imperitive that folks who have not turned in first drafts do so by Thurs. or your final grade will be adjusted for such lateness. It is also important that you hang on to your first drafts (with my comments). This has always been the policy (as printed below). Let me know if you have any questions about any of this. And one last thing, if you make an appt. with me, be sure to bring at least one essay to discuss. Otherwise my input will be limited and I will find the process a bit frustrating.
The Portfolio (80%):
The Portfolio will represent the bulk of your efforts and, consequentially, the bulk of your grade.
All formal essays should be double-spaced in black 12 pt. Times New Roman. They should also be stapled. The first three formal essays will be revised extensively, not only to improve your grade, but to meet a basic requirement of the class: revision.
All good writing is a result of a writing process. The first three essays will require prewriting, peer review, a first draft (to receive a tentative grade), and a final draft. Your first drafts will
receive tentative grades—B-range, C-range, D-range, etc. This grade represents where the unrevised essay stands in its early incarnation. When revising each essay consider carefully my comments; then, if you like, schedule an appointment with myself, or the Writing Center (sfix@ccad.edu). You are required to meet with me at least once, preferably in the first ten weeks.
At the end of the term, you will turn in a folder that includes your three revised essays, as well as the first drafts of those essays (with my comments). The final draft of the fourth essay will also be included. The fourth essay will be an opportunity to show what you have learned in the process of revising the first three essays. The Portfolio will be assessed in terms of the four individual essays, but also as a whole (in terms of your overall progress as a writer).
Tuesday, November 10, 2009
Monday, November 9, 2009
No New Topics/Appointments/Jeff Koons
Hi Folks:
I've had a few people contact me about other articles/issues. The time has passed to choose an alternate article. Also, folks have been showing up for appointments 62% of the time. If you make an appointment, show up. Below you will find three images of Jeff Koons' work (briefly mentioned in the reading for today).
Thursday, November 5, 2009
Due Next Tuesday, 11/10
By next Tuesday's class, select the article that you will respond to for Essay Three. It also might help to take another look at the prompt. If you are choosing a text we've read in class, then you are good to go. If you have chosen an essay we have not read, be sure to clear the topic/essay with me over the weekend. (Send me an e-mail to teacupsaucer78@gmail.com summarizing the article and the debate it raises.) I will not approve any outside articles after this weekend. So, if you want to use an outside article, get it to me by Sunday evening. Also, read the essay I've pasted below:
OP-ED CONTRIBUTOR
Has Conceptual Art Jumped the Shark Tank?
Christchurch, New Zealand
ART’s link with money is not new, though it does continue to generate surprises. On Friday night, Christie’s in London plans to auction another of Damien Hirst’smedicine cabinets: literally a small, sliding-glass medicine cabinet containing a few dozen bottles or tubes of standard pharmaceuticals: nasal spray, penicillin tablets, vitamins and so forth. This work is not as grand as a Hirst shark, floating eerily in a giant vat of formaldehyde, one of which sold for more than $12 million a few years ago. Still, the estimate of up to $239,000 for the medicine cabinet is impressive — rather more impressive than the work itself.
No disputing tastes, of course, if yours lean toward the aesthetic contemplation of an orderly medicine cabinet. Buy it, and you acquire a work of art by the world’s richest and — by that criterion — most successful living artist. Still, neither this piece nor Mr. Hirst’s dissected calves and embalmed horses are quite “by” the artist in a conventional sense. Mr. Hirst’s name rightfully goes on them because they were his conceptions. However, he did not reproduce any of the medicine bottles or boxes in his cabinet (in the way that Warhol actually recreated Brillo boxes), nor did he catch a shark or do the taxidermy.
In this respect, the pricey medicine cabinet belongs to a tradition of conceptual art: works we admire not for skillful hands-on execution by the artist, but for the artist’s creative concept. Mr. Hirst has a talent for coming up with concepts that capture the attention of the art market, putting him in the company of other big names who have now and again moved away from making art with their own hands: Jeff Koons, for example, who has put vacuum cleaners into Plexiglas cases and commissioned an Italian porcelain manufacturer to make a cheesy gold and white sculpture of Michael Jackson and his pet chimp. Mr. Koons need not touch the art his contractors produce; the ideas are his, and that’s enough.
Sophisticated gallery owners or curators normally respond with withering condescension to worries about the lack of craftsmanship in contemporary art. Art has moved on, I’ve heard it argued, since Victorian times, when “she’d painted every hair” was ordinary aesthetic praise. What is important today is not technical skill, but skill in playing inventively with ideas.
Since the endearingly witty Marcel Duchamp invented conceptual art 90 years ago by offering his “ready-mades” — a urinal or a snow shovel, for instance — for gallery shows, the genre has degenerated. Duchamp, an authentic artistic genius, was in 1917 making sport of the art establishment and its stuffy values. By the time we get to 2009, Mr. Hirst and Mr. Koons are the establishment.
Does this mean that conceptual art is here to stay? That is not at all certain, and it is not just auction results that are relevant to the issue. To see why works of conceptual art have an inherent investment risk, we must look back at the whole history of art, including art’s most ancient prehistory.
It is widely assumed that the earliest human art works are the stupendously skillful cave paintings of Lascaux and Chauvet, the latter perhaps 32,000 years old, along with a few small realistic sculptures of women and of animals from the same period. But artistic and decorative behavior emerged in a far more distant past. Shell necklaces that look like something you would see at a tourist resort, as well as evidence of ochre body paint, have been found from more than 100,000 years ago. But the most intriguing prehistoric artifacts are much older even than that. I have in mind the so-called Acheulian hand axes.
The earliest stone tools are choppers and blades found in Olduvai Gorge in East Africa, from 2.5 million years ago. These unadorned tools remained unchanged for thousands of centuries, until around 1.4 million years ago when Homo ergaster, Homo erectus and other human ancestral groups started doing something new and remarkable. They began shaping single, thin stone blades, sometimes rounded ovals, but often in what to our eyes are arresting symmetrical pointed leaf or teardrop forms. Acheulian hand axes (after St.-Acheul in France, a site of 19th-century finds) have been unearthed in their thousands, scattered across Asia, Europe and Africa, wherever Homo erectus roamed.
The sheer numbers of hand axes indicate a rate of manufacture beyond needs for butchering animals. Even more curious, unlike other prehistoric stone tools, hand axes often exhibit no evidence of wear on their delicate blade edges, and some are in any case too big for practical use. They are occasionally hewn from colorful stone materials (even with decoratively embedded fossils). Their symmetry, materials and above all meticulous workmanship makes them quite simply beautiful to our eyes. What were these ancient yet somehow familiar artifacts for?
The best available explanation is that they are literally the earliest known works of art — practical tools transformed into captivating aesthetic objects, contemplated both for their elegant shape and virtuoso craftsmanship. Hand axes mark an evolutionary advance in human prehistory, tools attractively fashioned to function as what Darwinians call “fitness signals” — displays like the glorious peacock’s tail, which functions to show peahens the strength and vitality of the males who display it.
Hand axes, however, were not grown, but consciously, cleverly made. They were therefore able to indicate desirable personal qualities: intelligence, fine motor control, planning ability and conscientiousness. Such skills gained for those who displayed them status and a reproductive advantage over the less capable. Across many thousands of generations this translated into both an increase in intelligence and an evolved sense that the symmetry and craftsmanship of hand axes is “beautiful.”
Aesthetically pleasing hand axes constitute an unbroken Stone-Age tradition that stretches over a million years, ending 100,000 to 150,000 years ago, about the time that their makers’ African descendants, now called Homo sapiens, started to become articulate speakers of language. These humans were probably finding new ways to amuse and amaze one another with — who knows? — jokes, dramatic storytelling, dancing or hairstyling. Alas, geological layers do not record these other, more perishable aspects of prehistoric life. For us moderns, the arts have come to depict imaginary worlds and express intense emotions with music, painting, dance and fiction.
However, one trait of the ancestral personality persists in our aesthetic cravings: the pleasure we take in admiring skilled performances. From Lascaux to the Louvre to Carnegie Hall — where now and again the Homo erectus hairs stand up on the backs of our necks — human beings have a permanent, innate taste for virtuoso displays in the arts.
We ought, then, to stop kidding ourselves that painstakingly developed artistic technique is passé, a value left over from our grandparents’ culture. Evidence is all around us. Even when we have lost contact with the social or religious ideas behind the arts of bygone civilizations, we are still able, as with the great bronzes or temples of Greece or ancient China, to respond directly to craftsmanship. The direct response to skill is what makes it possible to find beauty in many tribal arts even though we often know nothing about the beliefs of the people who created them. There is no place on earth where superlative technique in music and dance is not regarded as beautiful.
The appreciation of contemporary conceptual art, on the other hand, depends not on immediately recognizable skill, but on how the work is situated in today’s intellectual zeitgeist. That’s why looking through the history of conceptual art after Duchamp reminds me of paging through old New Yorker cartoons. Jokes about Cadillac tailfins and early fax machines were once amusing, and the same can be said of conceptual works like Piero Manzoni’s 1962 declaration that Earth was his art work, Joseph Kosuth’s 1965 “One and Three Chairs” (a chair, a photo of the chair and a definition of “chair”) or Mr. Hirst’s medicine cabinets. Future generations, no longer engaged by our art “concepts” and unable to divine any special skill or emotional expression in the work, may lose interest in it as a medium for financial speculation and relegate it to the realm of historical curiosity.
In this respect, I can’t help regarding medicine cabinets, vacuum cleaners and dead sharks as reckless investments. Somewhere out there in collectorland is the unlucky guy who will be the last one holding the vacuum cleaner, and wondering why.
But that doesn’t mean we need to worry about the future of art. There are plenty of prodigious artists at work in every medium, ready to wow us with surprising skills. And yes, now and again I walk past a jewelry shop window and stop, transfixed by a sparkling, teardrop-shaped precious stone. Our distant ancestors loved that shape, and found beauty in the skill needed to make it — even before they could put their love into words.
List Group Activity
As a Group of 3-4, get to together to create a list. As a group decide on a topic: do something quirky, or oddball (“13 reasons to buy lemons”); or something practical (10 places for CCAD students to…). Come up with a few topics and then choose one. As a group talk about the criteria for your list. How many entries to include? Why this number? How do you want to design it? 1-10, 10-1? Bullet points? How much text will you include? What kind of criteria will you use when writing the text? This should be a group effort: there should be a debate about what to include, what not to include, and the ranking of the items. Once you’ve completed the list, use a computer in the classroom to type it up. Print this file and then attach it to an e-mail and send it to teacupsaucer78@gmail.com. Over the weekend I will post the lists to The Picnic Table. Be sure to check them out.
Tuesday, November 3, 2009
Monday, November 2, 2009
Jackson Pollock (1912-1956)
Number One 1948
Full Fathom Five, 1947
Mural, 1943
Man and Wife, 1942
The Cotton Pickers, 1933
Sunday, November 1, 2009
Schedule for Appt. This Week
Hi folks from both sessions of LA 190. I am posting the confirmed appts. for this week. If you'd like to change your time, or schedule an appt., look at available times, and then e-mail the time you want. Reminder: we are meeting at the Starving Artists cafe. If you've scheduled an appt. be sure to be there. If none of these times work for you, please e-mail teacupsaucer78@gmail.com.
Monday 11/2
12:00 Mary N.
12:15 Parker H.
12:30
12:45
1:00
Wed. 11/4
11:30 Jake H.
11:45 Lexi H.
12:00 Wes T.
12:15 Mariah
Thurs.
3:30: Shelby
Friday 11/6
12:30 Sammi D.
12:45 Tom K.
1:00 Leah K.
1:15 Todd H.
1:30 Terry B.
1: 45 Lee H.
2:00 E.B.
2:15 Break
2:30 Logan M.
Friday, October 30, 2009
Tuesday, October 27, 2009
Appt. Schedule for LA 190 12:30-1:50
Here is the following schedule for this week's appts. If you don't see your name here, you either didn't sign up, or missed the appt. today. In either case, let me know if you want to schedule, or reschedule. Contact me via e-mail: teacupsaucer78@gmail.com
11:00 Paul D.
11:15 Kat V.
11:30 Casey S.
11:45 Emily C.
12:00 Owen C.
12:15 Wes T.
Thurs. 29
3:30 Tony L.
3:45 Walker C.
4:00 Krista H.
4:15 Jada M.
4:30 Jordan
Revised Schedule for Unit Three
T 11/3 PP 185-216
R 11/5 LC 32-39
T 11/10 Read Essay at Following link: http://www.nytimes.com/2009/10/16/opinion/16dutton.html
T 11/17 Essay Three First Draft Due
Monday, October 26, 2009
A link to Posters by Milton Glaser
http://www.miltonglaser.com/pages/posterprint/poster_index.html
and the article (also available in Looking Closer), but here, including images:
http://www.miltonglaser.com/pages/milton/mg_index.html
Thursday, October 22, 2009
Dumb Ideas: In-Class Group Activity
In groups of 3-4, discuss some myths that you feel are incorrectly perpetuated about the art/design school experience. Chat about these for 5-10 minutes. Then select a single myth and write an entry that imitates Keedy's format, style, tone, etc. I'm expecially interested in aping his tone. We will share these with the rest of the class. So, you will need a scribe and a reader.
Tuesday, October 20, 2009
Skull Photo Fakes: FYI
Here are a few links to today's (and yesterday's) New York Times. Both pieces are a part of series on photographic fakes:
http://morris.blogs.nytimes.com/2009/10/18/the-case-of-the-inappropriate-alarm-clock-part-1/
http://morris.blogs.nytimes.com/2009/10/19/the-case-of-the-inappropriate-alarm-clock-part-2/
Thursday, October 15, 2009
Unit Three Prompt and Schedule
Essay Three: Argument
For this essay you must respond to one of the essays we will read during Unit Three (or one you find). But keep in mind, in order to respond to a certain argument—whether you agree, disagree, or agree partially—you must do the work to make sure you fully understand the position your are supporting or reacting against. The goal is simple: enter the conversation. Don’t be afraid to concede a point or two while taking issue with a point you disagree with. Also, be sure to address any counter-arguments to your own position.
This should be a thesis-driven essay, one that develops a substantiated, thought-out position on an issue. A summary of the writer’s position should appear early in the essay. You are encouraged to use your own perspective as a way into the conversation. That is, your personal experiences can supplement your essay; however, the bulk of your essay should be derived from a detailed response to the source article.
The Protocol:
4 Pages, Stapled
Works Cited Page (containing source essay and any additional sources you choose to use)
If you’d like to find your own essay to respond to, you must clear it with me by 11/5
Schedule (This is a tentative schedule. Further readings and assignments will be added):
R 10/15 LC 106-107
T 10/20 LC 45-61
Type a half-page (200-word) summary of Rosen’s argument.
R 10/22 LC 197-202 and 144-148
T 10/27 LC 118-128
R 10/29 LC 32-39
T 11/3 PP 185-216
R 11/5 TBA
T 11/10 TBA
R 11/12 Peer Review Draft Due (Bring Three Copies)
T 11/17 Essay Three First Draft Due
Tuesday, October 13, 2009
Stuckists
Isolation Street, by SP Howarth
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If We Could Undo Psychosis 1, Jane Kelly
Aeroplane, by John Bourne
Monday, October 5, 2009
FIY: Student Newspaper Forming
This is posted from a faculty announcement I just received:
Thanks so much,
Joan Demartin
Sample Writing for Tuesday
Hi folks:
There will be no reading due for Tuesday's class. I may bring in some samples to discuss, but no reading to have done prior to class. However, be sure to bring your typed response for our CMA activity from last Thurs. and bring _Rules for Writers_ for our MLA discussion. Finally, keep in mind on Thurs. (10.8) that a peer-review draft for essay two is due and that next Tues. (10.13) your first draft is due.
Also, next week we will start Unit Three and you will have to do extensive reading in _Looking Closer Five_. I've noticed that some of you didn't have _Poets and Painters_ with you in class during our discussions. This is unacceptable. Any class period when we are discussing an assigned reading, you are required to have the text in front of you (even if this means making photocopies of a peer's text).
As always, e-mail me with any questions and be sure to bring questions (both general and specific) about my written comments on essay one.
See you all on Tuesday.
Wednesday, September 30, 2009
Tuesday, September 29, 2009
Photos For Discussion 9.29.09
Hi folks:
I'm a late posting these; we'll discuss these (and the Baskin pieces) in class today.
More Arbus at this link:
http://diane-arbus-photography.com/index.html
Thursday, September 24, 2009
Tuesday, September 22, 2009
Unit Two Schedule
Hi folks,
9/22 Introduce Prompt
9/23 Read Moore on Robert Andrew Parker, pp. 38-43 and Strand on Edward Hopper, pp. 339-43 both in P on P. Look at samples by Parker and Hopper on the Picnic Table (below). Also look at Hopper’s House by the Railroad in the glossy print section in the middle of P on P (around page 125).
9/29 Read Hughes on Leonard Baskin, pp. 289-309 in P on P. Look at Baskin samples on The Picnic Table.
10/1 Meet in the back lobby of the CMA during our regular class period for a museum activity.
10/6 MLA Day (Bring Rules for Writers to class); Sample Student Writing (handout)
10/8 Peer Review Draft Due (bring three copies)
10/13 Essay Two Due (First Draft)
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