And we will also be working on modular madness tomorrow (bring materials)

Post your 10 textures to your blog!

Posts you should have on your blog today

1. Response to quilt/painting
2. Your top 16 dot dot dot sketches (with commentary)
   
3. The top 4 dot dot dot (with response to fellow students critique)
4. The top dot dot dot that you are using to guide you through text as texture 
5. Response to responding sensitively to your modular madness materials and others

It would also be good to include things like

1. either your notes or response to lecture 01 :: what is art?
2. either your notes or response to lecture 02 :: representation/nonrepresentation
3. process pictures for modular madness
4. process pictures for text as texture
   

Post to your blog

WHAT DID YOU DO?
WHY DID YOU DO IT?
Observe and interpret your process and materials.

Responding to someone elses objects

Amber responds to the stick of post it notes

Modular madness: 100 somethings

Friday's dot dot dot from Jamie's perspective

2D Gestalt -- class reading assignment

1. Visual language
2. Gestalt
3. John Bowers, Intro to Two Dimensional Design: Understanding Form and Function. pp. 20–21 and pp. 42–49.

Engineering, design or art?

Ashley and Sammi


Clark and Raquel


Jessell and Grady


Amber and Agnes


Jessica


Henry


Alexiah and Theresa


Nick

Danny and Andres



Zachary



Reece and team



Amanda



David and Christopher


Sean

El Anatsui :: Upcoming Artist Talk Thursday, January 28 @ 6pm, Rice Gallery

El Anatsui
New Installation
28 January - 14 March 2010
Rice Gallery

Thursday, January 28
Opening 5-7 pm
Artist talk, 6 pm
Rice Gallery, 6100 Main Street
Houston, Texas 77005

Hope to see you guys there!

WASH house location.

NOTE it is a little over two miles from the campus art department.


View Larger Map

The draftsman and the wall enter a dialogue.

Sol Lewitt
Artist’s statement (1970–71)

The draftsman and the wall enter a dialogue. The draftsman becomes bored but later through this meaningless activity finds peace or misery. The lines on the wall are the residue of this process. Each line is as important as each other line. All of the lines have become one thing. The viewer of the lines can only see lines on a wall. They are meaningless. That is art.
—Pasadena Art Museum Catalogue, 1970

The artist conceives and plans the wall drawing. It is realized by draftsmen. (The artist can act as his own draftsman.) The plan, written, spoken or a drawing, is interpreted by the draftsman. There are decisions which the draftsman makes, within the plan, as part of the plan. Each individual, being unique, given the same instructions would carry them out differently. He would understand them differently. The artist must allow various interpretations of his plan. The draftsman perceives the artist’s plan, then reorders it to his own experience and understanding. The draftsman’s contributions are unforeseen by the artist, even if he, the artist, is the draftsman. Even if the same draftsman followed the same plan twice, there would be two different works of art. No one can do the same thing twice. The artist and the draftsman become collaborators in making the art. Each person draws a line differently and each person understands words differently. Neither lines nor words are ideas. They are the means by which ideas are conveyed. The wall drawing is the artist’s art, as long as the plan is not violated. If it is, then the draftsman becomes the artist and the drawing would be his work of art, but that art is a parody of the original concept. The draftsman may make errors in following the plan without compromising the plan. All wall drawings contain errors. They are part of the work. The plan exists as an idea but needs to be put into its optimum form. Ideas of wall drawings alone are contradictions of the idea of wall drawings. The explicit plans should accompany the finished wall drawing. They are of importance.
—Art Now, vol. 3, no. 2, 1971