2-D Fundamentals: Form, Functionality and the Shape of Meaning in Images

Laurel Beckman

Department of Art Studio FALL 2000

Lecture M 5-6:50 pm Buchn 1920

Sections 101. MW 9-10:50am Arts 2628

102. MW 1-2:50pm Arts 2628

103. TR 9-11:50am Arts 2628

104. TR 11-12:50pm Arts 2628

"One side of the system is critical; the other is...celebration. Everything

is validated through images. People believe in this power-they are used to

images being manipulated, and being manipulated themselves, by images."

Mariko Mori

Because our field of vision is an analog to the flat picture plane, studies

in 2-D are critical to our understanding of how we experience and interpret

vision. Using examples from art history, contemporary practice, popular

culture and print/broadcast culture, we will explore the primacy and

fluidity of vision, the mechanics of form, and the role of imagination and

context in the making and viewing of images.

We will address the different aspects of 2-dimensional images, in their

production and influence, with the plasticity they deserve. We'll assume

the symbiosis of form and content while using a variety of approaches and

media (drawing, painting, print, photography, signage, digital) to

elaborate fundamental concerns of space, color and context. And though the

course is intensely structured, it does weave issues in and out; putting

you in the active position of synthesizing the material towards more

informed choices in your looking and making. In order to do that it is

required that you keep your projects and sketch book up to date, take notes

in lecture, read all class texts (including those in the reader, in

Understanding Comics, the on-line references, and the on-line lecture/slide

notes), ask questions, and importantly, be inventive with your work.

Attendance, Grades, Homework:

The structure of the class is a weekly slide lecture + twice weekly studio

(art-making) sections.

The non-negotiable attendance requirements: You may miss only 1 lecture,

and may not exceed a total of 3 missed classes. A 4th absence with an

excellent excuse will bring grade down 1/2 point. Missing 2 lectures will

drop grade one full point. 5 total absences or more than 2 missed lectures

and you cannot pass the class. Late appearances accumulate towards

absences, with 3 lates = 1 absence. Grades will be based on studio projects

and class participation (50%), and an end of quarter written final (50%),

mitigated by attendance. Any attempt to falsify attendance records will

mean an immediate F for the entire course. You can expect to spend an

average of 12 hours per week doing out of class work including reading.

Details of projects will be tailored to and outlined in each section. You

are expected to keep a visual journal/sketchbook in conjunction to studio

projects.

S P A C E

Week 1 INTRODUCTION

Introduction to instructors, supplies, course structure and requirements,

art resources on campus, S.B., L. A.

Purchase supplies at bookstore, reader at AS notes, Understanding Comics at

the Bookstore.

The fluidity of vision

Visual perception as a dominant descriptive sense

Slippage in reality and its representation

Learning through slides vs. actual work

Flat space

Illusionistic space

Realism and Representation

Abstraction

Non-objective images

Studio Projects: Shape Shifter. A 4 step project.

step 1. Draw in pencil from still life arrangement.

step 2. Make an abstract drawing in pencil of your still life drawing.

step 3. Make a 3-d object from your abstraction.

step 4. Draw in crayon your object.

Supplies needed: pencils, crayons, paper, scissors, misc. supplies (wire,

paper, paper mache, plaster, sculpting, tin foil, styro, etc.)

Project objectives: drawing from observation, presenting representation &

abstraction, working experimentally through an idea, image, relationship,

the slippage between 2-d and 3-d.

reading:

Daniel Chandler

Visual Perception ("The Search For Petterns" section is in the reader)

in association with University of Edinburgh, Heriot University read the

entire illustrated text on-line

<http://www.aber.ac.uk/education/Undgrad/ED10510/visper01.html>

Peter K. Kaiser

The Joy of Visual Perception access this on-line

<http://www.yorku.ca/eye/>

Scott McCloud

Understanding Comics: The Invisible Art,

Chapter 2 - The Vocabulary of Comics

Kitchen Sink Press 1993

Week 2 THE ORGANIZATION OF SPACE- COMPOSITION AND FORM

The picture plane and frame

Scale and Proportion

Discreet shapes and Overlapping (layering), transparency

Light-dark

Symmetry, Asymmetry, the Diagonal, S-Curve, Golden Section, Grid, Figure

and Ground, Hierarchical and Random Space

Negative and Positive Space

Cropping

Studio Projects: Giving Form to Qualities.

1. Make 10 6"x6" compositions using black cut paper on white to evoke the

following: balance, depth, chaos, out-of-balance, calm, empty, dynamic,

tense, energetic, overwhelmed. As an additional step, make a drawing that

only uses but reconfigures (some or all of) the positive and negative

shapes you created in the above b/w compositions. You may change the scale

of the shapes, but do not use color.

2. Using tracing paper and rectangular viewfinder of any proportion,

isolate an area on a pre-existing image (photograph, magazine, etc.) and

draw shapes/lines you see. Identify salient compositional aspects of your

tracing. Do this with 3 different images.

3. Using tracing paper with a new viewfinder whose shape is arrived at by a

random physical process (i.e.spill coffee and cut hole/s where stains

occur), construct a complex hierarchical composition. Use 3 new

pre-exsiting image sources for the tracing. A hierarchical composition is

where the viewer can identify some items as more important than others; in

a way, you are guiding the viewer in how to see your image.

New supplies needed: xacto knife, glue stick, ruler, black/white papers,

tracing paper

Project objectives: visualize and articulate non-tangible qualities in 2-D

form, basic compositional aspects (balance, tension, visual weight,

dynamism, proportion, scale, cropping), imaginative results from limited

resources, editing pre-existing sources.

reading:

Edwin A. Abbott

Flatland: A Romance of Many Dimensions

Harper Collins 1983

Week 3 THE ORGANIZATION OF SPACE- FLAT SPACE, LINE, SHAPE, FORM,

SIGNS, ICON

Flat Space

Line- Weight, and Line as Value (cross hatch, etc.), the Association with

Intellect, Mark-Making

Diagrammatic Lines, Maps, Architectural, Contour

Gesture (using and observing the body), Expressive, Calligraphic Line

Shape- Negative and Positive space

Planes and Shapes, Stencils, Graphic Shapes

Fractured Representation

Signs

Icons

video: Oscar Fishinger, The Films of Oskar Fishinger, excerpts from

animated shorts dating from the late 1920's to the early 1950's, published

in 1998 by Jack Rutberg Gallery, Los Angeles, CA

Studio Projects:

1. drawings: blind & modified contour, negative space definition of object,

gestural, scratchboard line as value.

2. Invent and make a new sign that uses an icon. Identify the signified and

signifier. Draw it first in pencil or ink, then translate that drawing to a

new one executed in color pencil or marker.

New supplies needed: paper, erasers, scratchboard, scribe tool

(awl/needle), color drawing tools and misc. as needed for sign.

Project objectives: see shapes rather than (knowable, analyzable) objects,

line as definition, capture of bodily gestures, imaginative construction of

a space, variety in representation, basic semiotics of images.

reading:

Scott McCloud

Understanding Comics: The Invisible Art,

Chapter 5 - Living in Line

Kitchen Sink Press 1993

Daniel Chandler

Semiotics For Beginners:Signs

in association with University of Edinburgh, Heriot University on-line

publication

<http://www.aber.ac.uk/media/Documents/S4B/sem02.html >

Week 4 THE RE- ORGANIZATION OF SPACE-

ILLUSIONISTIC SPACE, REALISM, LIGHT, VOLUME, VALUE,

PERSPECTIVE & THE

POWER OF BELIEF

Illusionistic Space and Realism

Perspective-

Atmospheric Perspective (color and value in)

Linear (mathematical) Perspective- 1, 2, 3 point; achievement through

overlapping, scale, point of view, vanishing points, horizon, eye level,

orthogonal lines, foreshortening; positioning yourself & the viewer

Subjective and Imaginative Perspective, Interpenetration of Planes

The Use of Light- Value, Chiaroscuro, Shading, Lighting, Mood, the Power of

Illusion

Texture

Flesh- In Life, Death, and in the Imagination

Studio Projects:

1. Using part or all of a composition from week 2, draw a new one that

imagines those flat shapes as dimensional by the use of value and texture.

2. 1 & 2 point perspective outdoor (include some architecture) drawings in

pencil.

3. Set up a scene to photograph. Make 3 photographs of that same scene that

use different lighting (only one of those may be a color or gel light

source) to evoke diffent ideas/feelings.

New supplies needed: paper, some photographic device such as a disposible,

polaroid, 35mm, lighting (spot, flood, directional, etc)

Project objectives: learn the effects of value and texture, 1 & 2 point

perspective, effects of natural and artificial lighting.

reading:

Keith West

Basic Perspective For Artists, excerpts

Watson-Guptill Publications 1995

Lawrence Weschler The Looking Glass, The New Yorker, January 31, 2000

Robert Cumming <http://www.moma.org/onlineprojects/cumming> interactive

drawing/perspective

SodaPlay on-line interactive perspective modeling

<http://sodaplay.com/index.htm>

C O L O R

Week 5 COLOR THEORY- HOW WE SEE COLOR

Seeing Color, Wavelengths

Subtractive and Additive Color Systems- Pigment and Light, Paint and Emulsion

RYB, CMYK, RGB

Hue, Value (tints and shades), Saturation/Intensity

Primaries, Secondaries, Tertiaries

Complementary Color, Split Complements

Simultaneous Contrast, Contrast

Local Color, Analogous Color, Warm/Cool, Subjective Color, Monochrome,

Harmony, Tints, Florescents & Day-glo

Color in Print (in halftones and spot color)

Digital Color

video: Oliver Saks, How We See Color, excerpt on photographic color, 1998

PBS broadcast

video: Glenn McKay, Altered States, excerpt, 1960's-70's psychedelic club

projections

Studio Projects:

1. 3 Paint Strips: Monochrome, Simultaneous Contrast, Analogous Color (do

NOT paint a color wheel)

2. Using acrylic paints, paint your own radial composition that aspires to

be a mandala or cosmology. You must use and identify at least 6 aspects of

color theory that we cover in class.

New supplies needed: color wheel, acrylic paints & mixing tray, brush(es),

water jar, water tolerant paper

Project objectives: basic color theory- RYB paint pigments,

primaries/secondaries, complements, simultaneous contrast, the creation of

a meaning through color.

reading:

Johannes Itten

The Elements of Color, excerpts, Introduction, Color Physics

Van Nostrand Reinhold 1970

Scott McCloud

Understanding Comics: The Invisible Art,

Chapter 8 - A Word About Color

Kitchen Sink Press 1993

Cary Wolinsky

The Quest For Color

National Geographic, Vol.196, No. 1, July 1999, pp. 72-93

Peter Halley <http://www.moma.org/onlineprojects/halley/index.html>

interactive color experimentation

J. Scruggs <http://www.bway.net/~jscruggs/notice2.html> Color Theory web page

J.L. Morton <http://www.colormatters.com/>, sociolgical effects of color, etc.

Don Jusko <http://www.mauigateway.com/~donjusko/1artists.htm>, history of

pigments, color in art

Week 6 COLOR IN USE

Review of color in pigment, paint, ink and light

Color and Meaning

Symbolic, as Attributed to the Feminine, Emotive and Irrational

Color in Media

Rainbows, Gradients

Motif, Certainty and Insanity in Pattern, Pattern and Decoration

Red (danger/sexuality), Yellow (journalism), Blue (moods)

video: Ingmar Bergman, excerpt from Cries and Whispers, 1972,

Studio Project:

1. Using pencil, graphite or crayon, take a rubbing off an industrial

material; next derive a pattern from it in the form of a black ink drawing.

2. Color relief print: using the pattern you made, place it under and

redraw it on to a piece of plexiglass, turn plexi upside down and use lines

as a template to gouge out the pattern with a scribe tool for a drypoint

print, or build up a shallow surface (with tape, etc) for a relief print.

New supplies needed: plexiglass piece, tape, etc. paper - newsprint +?,

work apron or shirt.

Project objectives: basic ink and color in a printing process,

transformation of an image through 3 steps.

reading:

Charles A. Riley II

The Palette and the Table, from Color Codes: Modern Theories of Color in

Philosophy, Painting and Architecture, Literature, Music, and Psychology

University Press of New England 1995

Michael Rock and Pamela Hovland

Colored Lenses: The Rise of Color in the Media, from The News Aesthetic

The Herb Lubalin Study Center of Design and Typography, The Cooper Union

School of Art 1995

Peter S Stevens

Handbook of Regular Patterns: An Introduction to Symmetry in Two

Dimensions, excerpts

MIT Press 1981

<http://www.grand-illusions.com/index.htm> optical illusions

<http://www.jodi.org> great net-specific art featuring patterns

<http://www.jodi.org/401/U.html>

CONTEXT

2-D Fundamentals: Form, Functionality and the Shape of Meaning in Images

Laurel Beckman

Department of Art Studio Fall 2000

Lecture M 5-6:50 pm Buchn 1920

Lecture #7 Notes

Week 7 WHAT AND WHEN- OPTICAL AND INTELLECTUAL MOVEMENT

Repetition, Serial Imagery

Visual Language, Expressive 'Experimental' Typography

Text in Art

Narrative Systems- Episodic, Linear/Sequential, Non-Linear

video: opening credits from the film: The Island of Dr. Moreau, 1996, John

Frankenheimer

_______________________________________________________________________________

1. Bruce Conner, from opening sequence of Looking For Mushrooms",

1959-1970, 16mm film, 100'

2. Wallace Berman, Untitled (Multi-Color Shuffle), 1969, verifax collage

and acrylic 13x14"

3. Bruce Conner, Sound of Two Handed Angel, 1974, 88x37", and Blessing

Angel, 1975, photogram 85x39"

4. Bruce Conner,Night Angel, 1975, and Angel Light, 1975, both photogram

85x39"

5. Andy Warhol, Elvis I and II, 1964, synthetic polymer paint and

silkscreen 208.3cm square

6. Andy Warhol, 200 Cambells Soup Cans, 1962, acrylic, 72x100"

7. Andy Warhol, from Skulls series, c.1980, acrylic and silkscreen

8. Andy Warhol, Lavender Disaster, 1963, acrylic and silkscreen, 106x82"

9. Lorna Simpson, Easy for Who to Say, 1989, 5 polaroids w/10 plastic

plaques, 31x115"

10. Bernd and Hilla Becher, Typology of Half Timbered Houses, 1959-74,

gelatin silver photographs 40x31cm each

Repetition and Serial imagery: the use of repeated, identical or near

identical images

_______________________________________________________________________________

11. Luca Paccioli, from Divina Proportione, 1509

12. N. Goncharova, cover for The City, 1920

13. Various typefaces

14. Various typefaces

Typography: "Text " is what the words means, "Type" is what it looks like.

Serif and Sans Serif typefaces (a typeface is the visual font or totality

of the characters in a particular style)

_______________________________________________________________________________

15. Unknown Chinese typography

16. Unknown Persian typography

17. Jean Pucelle, The Miracle of the Breviary, from the Hours of Jeanne

d'Evreux, 1324-28

18. Unknown illuminated manuscript page with decorative capital

19. Joris Hoefnagel and Georg Bocskay, folio # 15 from Mira

Calligraphiae Monumenta (Model Book of Calligraphy), produced between

the mid and late 16th century

20. 1639 decorative script with flourishes making drawings ,

writing+pictures

antiquarian typography- in the European arts when printing became a viable

option for the dissemination of information is the same moment when

calligraphy was free to become an art form in order to maintain relevance.

Much like today's forms of printing reproduction being taken over by

artistic expression in light of digital means to distribute information.

_______________________________________________________________________________

21. Francis Picabia, Dada Movement Chart, 1919

22. Filippo T. Marinetti, from the Futurist Words-in-Freedom, c.1915,

collage, ink on paper

23. El Lissitzsky & Vladamir Mayakovsky, DJA Colossa, 1923 book

24. Kurt Schwitters, Katy Steinitz, Theo Van Doesburg, from Die

Scheuche Marchen, 1925 book

25. Unknown artist , example of Concrete Poetry

26. Kenneth Patchen, from Sleepers Awake, c.1950

Radical typography, typography as image, in early 20th century movements

_______________________________________________________________________________

27. Frederick Barthelme, Untitled (Instead of Making Art I filled Out

This Form), 1970, double page spread, offset

28. Joseph Kosuth, part of series "Art as Idea as Idea, c. 1967, and, On

Kawara, Title, 1965, Liqutex on canvas, and, Lawrence Weiner, c. 1970

29. Robert Indiana, Alabama, 1965

30. Jenny Holzer, Raise Boys and Girls the Same Way, 1987, Jumbotron sign

31. Lawrence Weiner, outdoor installation at Regen Projects, Los Angeles,

CA, 1999

32. Mike Kelly, Trash Picker, c.1995, felt banner approx. 6'x3'

33. Kay Rosen, Tide, 1994, sign paint 25x33.5"

34. Kay Rosen, 1984-5, sign paint on museum board 17x11" each

35. George Legrady, Words and Words, 1998, ink jet 24x30"

36. Pat Ward Williams, Accused/Blowtorch/Padlock, 1990, magazine photos,

silver prints window frame, text in paint

37. Mary Kelly, from Interim, 1986, photo and silkscreen

38. Susan Hiller, from Sisters of Menon, 1983 book, 11.5x7.5"

39. Genevieve Seille, Navigational Pathways (Appendix), 1992, mixed media

11.5x8x2.5"

40. Street tagging/writing

41. Charles Gaines, Submerged Text: Signifiers of Race #1, 1991, acrylic on

wall 144x348"

42. Micah Lexier, Self Portrait as a Wall, 1998, paint on wall

43. Hilary Leone and L. Macdonald, unknown title. C.1990, sandpaper "AIDS/SIDA

44. Ching-Ying Man, Reunification, I am Very HappyŠ, 1997 installation

45. Daniel J. Martinez, Pains of Power, 1992, computer generated drawing

for Now Times mag

46. Barbara Kruger, Untitled (Your Body is a Battleground), 1989, poster

for the March on Washington

47. Sister Corita Kent, Yellow Submarine, 1965, silkscreen approx. 20x30

48. Erika Rothenberg, Capital Punishment, 1992, gouche, twine, acrylic

shelves 25x24"

49. Mitchell Syrop, How Do I Look, 1990, torn offset litho poster 56x40"

50. Karen Carson, Birth Death Thank You Sandwich, 1994 vinyl painting

51. Bruce Nauman, Help Me Hurt Me, unknown date, print

52. Bruce Nauman, Violence Violins, c.1980, neon

53. Ed Rusha, Words Without Thoughts Never Go To Heaven, c.1985, oil

54. Ed Rusha, Sex, c.1985, oil

55. Ed Rusha, The Act of Letting a Person into Your Home, c.1985, oil

56. Ed Rusha, Air, Motor, Lips, all 1970, gunpowder and pastel on paper

57. Roni Horn, When Dickenson Shot Her Eyes no. 1027, 1993

58. Crispin Glover, Oak Mot, 1993, offset book, altered then reproduced,

page spread 7.5x10.5"

59. Alexis Smith, Eight Ball, 1988, mixed media 28.5x24"

60. Ram Dass, from Be Here Now, 1971 book,

Art work that uses typography both visually and conceptually

_______________________________________________________________________________

61. Unknown artists, art projects with text, mixed media, c.1998

62. Peter Anderson, Platon, Claire Todd, fashion/

typography/photography experiment

63. Kenneth Patchen, hand painted, then reproduced book cover, The King of

Toys.etc.

64. Ad Reinhardt, How to Look at an Artist #4, c.1950

65. Street signage, machine made and hand made

66. Walker Evans, Havana, 1932 photograph

67. Rudy Vanderlans, Pink Cliffs Village road sign

68. Comercial, market signage

69. The typeface "Matrix" on a footballl field

70. Designer typefaces for Circle K and Macdonalds

71. David Carson, spread from Surfer magazine, 1991, offset

72. David Carson, spread from Ray Gun, 1994, offset 12x20"

73. Unknown artist, The Best Show in '64, concert promotion poster, 1964

74. Rick Griffin, Grateful Dead poster, 1969

75. Rock and Roll posters, 1967, Bib Brother and the Holding Company, et al

76. Jim Shaw, Cease to Exist, Easter on My Brain, Identity Crisis, Space,

1987-89, mixed media on paper 17x14" each

Various images featuring typography, rock & roll promotion

_______________________________________________________________________________

77. Margo Johnson, from Fast Forward, 1993 offset book

78. Mike Fink, cover for Framework magazine, v.6, issue 2, 1993, offset 11x8.5"

79. Cornel Windlin, Foster's Ice Beer sign design through different

incarnations, client (dis)approval

80. Jodi Zellen, The City Never Sleeps, Metro Rail barracade project, 1994,

2 blocks long

visual typography in computer/digitally influenced work by artists and

designers

_______________________________________________________________________________

81. John Heartfield, And Yet it Moves, 1943, photomontage

82. W. Eugene Smith, Tomoko in Bath, from Minimata, 1972-75, 9x13.25"

83. Margaret Bourke-White, Mahatma Gandhi, 1946, and, Miners, Johannesburg,

1950, photographs

84. Weegee, Simply Add Boiling Water, 1950, and, The Human Cannonball,

1952, photos

85. Dorthea Lange, Migrant Worker, California, 1938, photograph

86. Walker Evans, Sharecroppers Family, Hale County, Alabama, 1939, photograph

87. Nan Golden, Philippe M. and Rise on Their Wedding Day, New York City,

1978, from: The Ballad of Sexual Dependency, photograph series

88. Jeff Wall, Pleading, 1988, duratrans photograph 46x66"

89. Jeff Wall, Mimic, 1982, duratrans photograph 78x90.25"

90. David Leventhal, Untitled from Cowboys and Western Landscapes, 1988,

polaroid ER prints 24x20

photography with strong narrative content

_______________________________________________________________________________

91. G. de Paolo, St John the Baptist Returning to the Desert, 1454,

painting 12x15, combination perspective, combining 2 episodes of story

into one scene, early renaissance

92. blank

93. Unknown artist, #4 de Espanol y Negra Mulata, 18th century, oil 14x19"

94. Douglas Gordon, 30 Second Text, 1996, Helvetica & Bembo on wall,

lightbulb, timer

95. Beata Szpura, illustration in N.Y. Times, september 1998

96. Lari Pittman, c.1995, acrylic and enamel, unknown title

97. Sue Willaims, It's a New Age, c.1995

98. Utagawa Kuniyoshi, The Fart Battle (detail), 1810, ink and color on

silk 11x102"

99. Jefferey Vallance, Evaluation of Defects, 1978, pastel, color pencil

and marker 18x23.5"

100. Navajo sand painting, temporal and symbolic

101. Chris Hipkiss, Expo (vision of post-holocost where women take power),

c. 1990 170x235"

102. Felix Gonzalez-Torres, Untitled, 1991, billboard, 8th Ave. & 16th, NYC

103. 1961 print advertisement for Uni-Matic Auto-Stat copier

104. Leon Golub, Interrogation II, 1981, acrylic 304.8x426.72cm

narratives contained within a single picture frame

_______________________________________________________________________________

105. Unknown Medieval manuscript page, David and Goliath, c.1250,

11.5x10.75", Episodic Time Passage, like a Medieval comic

106. John Baldessari, The Pencil Story, 1972-73, two R-type photo prints,

colored pencil 22c27"

107. 1998-9 billboard advertisement for Miller beer

108. Doug and Mike Starn (the Starn Twins), Gut Epoch, 1990-4, toned silver

prints on polyester, plexi, vitrines, xerox, 24 parts each 26x26x5",

overall 86x236"

109. H. Bosch,(Flanders) , Garden of Earthly Delights Triptych, c.15th

century, oil 220x195cm

110. Hieronymous Bosch, Garden of Earthly Delights (right panel), c.15th

century, oil on panel 195x55cm

111. Ami Franceschini and Ole Lutjens/Future Farmers, Wired magazine 12/1998 -1

112. Ami Franceschini and Ole Lutjens/Future Farmers, Wired magazine

12/1998-2

113. Alan Moore, Stephen Bissette, John Totleben, Swamp Thing comic, DC

Comics 1985

114. Wetworks comics, 1994

115. Art Spiegelman, Maus, originally published in 1973, graphic novel

116. Art Spiegelman, Maus, 2-page spread

117. Martha Rosler, The Bowery in Two Inadequate Description Systems, 1974,

photographs and text, and a book

118. Cheap Art, Power Myth (excerpt), from World War 3, 1991, activist

art/comic/zine, 10.5x8"

119. Nancy Spero, The Goddess Hut, 1989, handprinting collage on paper,

110x20" each

120. Sophie Calle, The Blind, 1986, color photographs, installation

121. Japanese Comic Book, 1996-7

122. Callis, Ernst, Ramirez, Torres, from The Big Sweep, c.1994, designed

by ReVerb, book project supporting Custodial Unions right to strike

episodic , linear narrative examples, sequences taking place over two or

more frames (cells/panels)

_______________________________________________________________________________

123. T. Tzara, Bilan, from Dada #4-5, 1919

124. Shelly Jackson, Patch Work Girl, 1995, online hypertext

125. Chris Ware, Jimmy Corrigan, Acme Novelty Library, published by

Fanagraphics Press. c.1995

126. Chris Ware, Jimmy Corrigan, Acme Novelty Library, published by

Fanagraphics Press. c.1995

127. Chris Ware, Sparky's, back cover (I Hate You), Acme Novelty Library, 1994

128. Jorma Puranen (Finnish), unknown titles, original images from 1882,

silver gelatin prints and plexiglass, c.1990

129. Lyle Aston Harris, The Secret Life of a Snow Queen, 1993-4, photo and

mixed media installation

130. Mike Kelly, Pay For Your Pleasure, 1988, pastel on paper by William

Bonnin) painting on tyvek banners 96x48" each

non-linear narratives achieved through collage, hypertext, installation

strategies

Week 8 HOW- STRATEGIES FOR THE DISPLACEMENT AND ASSERTION OF THE IMAGE

Juxtaposition, Reason and Chance

Collage, Photomontage, Cut & Paste, Hypertext- multisequential forms

Extra-Real Special Effects- Transparency, Blur, Glo, Drop-Shadow

Revisiting Representation and the Image as Fetish

Studio Project:

1. Using select elements of last week's visual language project,

incorporate your photographic images to construct a multi-celled narrative

that features collage/photomontage. Any type of emulsion based photography

accepted. It is recommended that you take your own pictures, and you may

NOT use any pre-printed sources such as magazines and books.

New supplies needed: photographic film process/device, materials as needed

for production and presentation

Project objectives: juxtaposition, narrative intent and styles, images + words