I am looking forward to reviewing everyone's current pieces and writing over the weekend. Make sure to get it into me. Here is the explanation for uploading to the site when you're ready.
Don't be strangers - I'm here to help, reach out!
April 29, 2020
We are almost to the finish line, ready to begin submitting to the AP "exam".
Watch this video before you start writing. I'm expecting to help you hone your essays to get them to best reflect your work.
Please check google classroom and submit your images and essays to me by adding to the Assignment posts.
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April 23, 2020
Hi Everyone,
Well, the announcement was a gut punch, even though I expected it. I was holding out hope that we would be able to come together again for a grand finale and Arts Night. Even the mad rush of uploading our portfolios is one of my favorite events for seniors. I'm so sorry. We will make some experiences for you in order to celebrate. It won't be the same, and it will feel unfair, but we will get through this once-in-a-lifetime event.
For this week, I want to share something I read about your CHOICES IN UPLOADING TO SITE. This is from a fellow AP teacher, Beth Hartley Borelli:
"The process and revision is just as important as the final works. 30% of their grade. I am suggesting that students submit 5 finals and 5 collages of planning, process, and revision. Someone said the old portfolio was like going to a gallery and viewing the works. The new portfolio is like going into the artist's studio and seeing how the work is done."
I will be available on Zoom Friday, the 24th, 9-9:30am, if you have any questions or concerns, and will send you the meeting link tonight. I'll just be hanging out, doing some art, ready to see your work or your face. You're not required to attend, but feel free to check in with questions. Wait in the waiting room, and I will address you one at a time.
I miss you all.
April 17, 2020
Here are the AP Art and Design Youtube links that will be helpful as you complete and submit on your own. And remember, you're not really on your own - I'm here to help from a safe distance.
April 8, 2020
Great to see some of you in the video chat Tuesday. Really miss you all. Again, I can get you any art supplies you need, but only on Wednesdays. Send me your needs.
And send me your pics of your work, please!
Here is a screenshot of the schedule of AP Art youtube instructional videos. I strongly recommend that you watch them, just to make sure you're using your time wisely and getting everything together in the right way. (Especially the "Writing Your Inquiry Statement" episode.)
April 1, 2020
Hi Everyone, miss you all!!
Here are the updates for AP submission, in bullet points:
- Submit 3 instead of 5 physical pieces for the Quality section (Selected Works)
- Submit 10 instead of 15 digital pieces for the Sustained Investigation
- Submission date is moved to May 26
- Videos will be posted by College Board sometime (?) in April, to help with understanding the submission process
- Keep taking pictures, at home, of your research and process of art-making.
Please - Be in Touch with me if you need help, are worried, or stuck. I am still available to help you work on your portfolio!!
Free online AP Art course for the month of April!!
Due to COVID19 outbreak, the iArtUSA online school is offering free classes. This would be GREAT to take advantage of. See below:
March 25, 2020. Not gonna lie...that news today was like a kick in the gut. I am missing you, my seniors. But, let's keep our collective chins up, and focus on our art work. With the extra time on hand, we should be able to make enough to have lots of choices of what to include in the portfolio. And as for that, the only thing I can glean from the AP notices is that due dates will be delayed and they may ask for fewer pieces in the submission. If I were in your shoes, I would keep plowing ahead, making all that I can. Better to have lots of choices.
I really wish someone would send me some art work to share here. Please?
Here's a site that might inspire you. It's about Artists Who Use Text in their work.
Hope to see you and some of your art soon.
Stay safe and healthy!
March 17, 2020. Messages from Shelter in Place...
Hi Friends,
Happy St. Patrick's Day!☘☘
This is weird, huh? I don't know about you, but I haven't been "settled" enough to do any art. But I think in the next day or so, I will start. I'm going to start to post images of your work that you send me, so that we can all see it here. So do please send me images, even in progress, of your current work.
AP is planning to proceed with May testing dates as of now. I'm sure if this quarantine lasts more than three weeks, that idea may be re-visited.
I miss seeing you and seeing the art you make. This is all going to be OK. We will have a joyous Art show and Graduation!
More later...
m
The AP Studio Art course requires students to electronically submit 15 original works of art to the College Board by early May. The student's 5 best works will be physically submitted by mail.
The 15 works should be a Sustained Investigation of a question (or series of questions, or ideas). The work should represent the student's responses to their question, and the growth and progress in their work as they continue the investigation. Finished pieces as well as "process' photos - showing the sketches and resources toward the finished piece - may be included.
Students are expected to work outside of class in order to complete their portfolio on time! I cannot stress this enough. You must work on your own time. There's no way around it.
Examples of Sustained Investigations can be found here.
These are my ideas about ways to practice and get started:
Do a portrait, self-portrait, landscape, or still-life in the style of another artist in which formal aspects of design are emphasized—i.e. Monet/ Impressionism, Matisse/Fauvism, Picasso/Cubism, Warhol/Pop, Dali/ Surrealism, Van Gogh/Post-impressionism, etc. You may have to do a bit of research to understand the stylistic tendencies of these artists/movements.
Do a self-portrait, or several different ones, that expresses a specific mood/emotion–e.g., anger/rage, melancholy/loneliness, happiness/joy, etc. Manipulate light and color to enhance the psychological atmosphere. Also, consider the development of the environment/setting.
Do some exploration with mixed media.
Do a piece (portrait, self-portrait, landscape, or stilll-ife) in which you use at least three different media—i.e., a wet medium, a dry medium and some collage element.
Do a portrait, self-portrait, still-life, or landscape using either a complementary, analogous, or split-complementary color scheme (you may use black and white as well as shades and tints of the chosen hues).
Do a drawing of a futuristic cityscape—e.g., Dallas in the year 2050 (keep in mind rules of one-, two-, and three-point perspective. Divide a page, canvas, board—i.e. the working surface—into three equal inset spaces.
Do three views of one landscape. Limit yourself to a specific color scheme.
Do a graphite drawing of a still-life arrangement that consists of reflective objects—your goal is to convey a convincing representation with a full range of values. To add interest to the composition, you might also want to render yourself being reflected in the objects.
Do a drawing of an unusual interior—for instance, looking inside a closet, cabinet, refrigerator, inside your car... use your imagination!
Do a drawing of your worldly treasures arranged in an interesting still-life composition. Do a drawing of your worldly treasures as they come to life—animate them.
Do a drawing of your hands arranged in a variety of poses. You must carefully plan your composition in order for the separate units to work together visually.
Do a color rendering of a still-life arrangement consisting of your family member’s shoes—try to convey some “sense” of each of your individual family member’s distinct personalities in your piece.
The following assignments are from the text Painting As A Language: Material, Technique, Form, Content, by Jean Robertson and Craig McDaniel (2000, Wadsworth Publishing).
Create a self-portrait of yourself engaged in some imagined activity that holds special personal meaning.
Think of all the places you have lived or visited, and make a list of the significant landscape features you recall. Include features you remember with fear or distaste as well as those you loved. Make sketches of those features from memory. After you have assembled a number of images, combine them together in a finished piece.
Paint an invented interior from your imagination. Attempt to create spatial and color relationships that enhance a connection between the physical and psychic structure of the interior. Use the painting as an opportunity to express or explore some of your thoughts about the issue of public versus private space.
Adhere/attach (paste, sew, staple, gesso, or gloss medium) a selection of collage elements of varying thickness onto several painting supports—i.e., stretched canvas, canvas board, masonite, plywood, cardboard, matboard, pegboard, etc. Make figure studies across the surface of the painting and collage materials. After completing the figure studies, continue working on each artwork attempting to build “bridges” that link collage material within structure of each overall composition, paying attention to formal elements of line, shape, value, and texture. For example, can a pattern found in a collaged fragment of a newspaper be made to flow into a painted pattern?
The following assignments are from the text Art Synectics, by Nicholas Roukes (1984, Davis Publications).
Developing a Composition that Shows Progressive Magnification of a Subject: Select either an organic or inorganic object to draw. Divide a large piece of drawing paper into nine equal sections. Starting in the top left box, draw a representational, overall view of the object as accurately as you can. In the next box to the right, imagine that you have a camera with a zoom lens and draw a close-up portion of the object in accurate detail. In the remaining sections, continue zooming in on the object and enlarging finer details. The last frame should be an enlarged detail created with the aid of a magnifying glass or microscope.
“Redoing” an Old Masterpiece: Select a painting, sculpture, or well known image from art history for interpretation. Redo the work . . . update it, or change colors, media, characters, etc.
Creating an Architectural Myth with Photomontage: Collect photographs/photocopies of city skylines, landscapes, and seascapes. Also collect photos/copies of household and technical objects—e.g., egg beater, toothbrush, toaster, electric fan, automobile grill, etc. Carefully implant the photo of the technical gadget within the photo of the environment to create a surreal cityscape or landscape. (You might want to look at the work of the artist Max Ernst who took printed images and recombined them to create hybrid forms).
Making a Nonverbal Book: Using a three-ring binder with three-inch rings to serve as book cover and spine for the book. Cut out three to five pieces of cardboard to serve as pages. Punch holes to accommodate the binder rings. Select a title for your book based on an emotion: The Fear Book, The Happy Book, The Book of Rage, The Book of Angst, etc. Use mixed media to render the designs on each page (incorporate both two- and three-dimensional components such as photographs, relatively flat objects, yarn, string, collage papers, drawings. Also, design a cover for the book.
Creating a Mythological Event: Think up a story involving the imaginary revolt of one of the following: domestic animals, computers, machines, kitchen appliances, elevators, flowers, etc. Visualize your idea by making a convincing illustration of the event.
Stimulating Imaginative Fantasy: Can you visualize the following situations and create a dialogue for them...(a) Old shoes are waiting for repair in a cobbler’s shop. What do they have to say when the cobbler isn’t around? (b) Cigarette butts in an ashtray have a conversation after a party. What do they say? (c) Wrecked autos in a junkyard talk to each other. What do they say? (d) An artist leaves his studio for a coffee break. While the artist is gone, the brushes, paints, canvas, and shop tools in the studio start a conversation. What do they say? Think of your own situations . . . Make a drawing or cartoon of one of the scenarios.
Creating New Symbolic Inferences by Switching Images and Photo Captions: Cut out selected photographs from newspapers and magazines. Also cut out the accompanying caption, along with captions and headlines from other articles that are completely unrelated. Mix and match . . . paste the new headlines or captions under the photos to create new symbolic inferences.
Strengthening Intuitive Creativity: Arbitrarily cut out one to four lines of text from a magazine article (a provocative statement or portion of dialogue). Make a collage . . . seek out black-and-white photographs and designs from magazines that you intuitively feel support the text. Use a gluestick and attach images to a sheet of white drawing paper. Add lines, shapes, tone, and color with pencil, ink, and/or felt-tip pens to heighten the emotional effect and to unify the composition.
More Assignments:
- Cut-paper self-portraits, interiors, landscapes.
- Distorted interiors.
- Gridded and distorted self-portraits.
- Illustrations of imaginary places.
- Visual puns.
- Leger- or futurist-inspired drawing of an engine or the inside of a mechanical object.
- Pop-inspired pieces working with personal symbols or words (Robert Indiana, Ed Ruscha).
- Piece that combines photocopied body parts (face, hands, feet) with anatomical drawings.
- Acrylic painting using analogous or complementary color scheme.
- Piece inspired by the “fortune” from a fortune cookie.
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