AP Studio Art Concentration

Start thinking about your artist statement for your concentration.
Here is a good website:
http://lhs.loswego.k12.or.us/z-mcbrides/AP/breadthconcentration0708.htm

3D Design:
http://apcentral.collegeboard.com/apc/members/exam/exam_information/220099.html#sample1
http://apcentral.collegeboard.com/apc/members/exam/exam_information/220099.html#sample2
http://apcentral.collegeboard.com/apc/members/exam/exam_information/220099.html#sample3
http://www.apstrategiesarts.org/StudioArt/APPortfolioPrep/tabid/90/AlbumID/464-8/Default.aspx

Drawing:
http://www.apstrategiesarts.org/StudioArt/APPortfolioPrep/tabid/90/AlbumID/464-9/Default.aspx
http://apcentral.collegeboard.com/apc/members/exam/exam_information/220229.html#sample1
http://apcentral.collegeboard.com/apc/members/exam/exam_information/220229.html#sample2
http://apcentral.collegeboard.com/apc/members/exam/exam_information/220229.html#sample3

AP Studio Art 3D Design Breadth 6

AP 3 D Design: Breadth 6:  Identity Architecture: Plaster casts of simple iconic building forms embedded with industrial or organic materials . An altar about you. Architecture from your childhood: a fort, a tree house, a decaying house…Maybe  you will reference a  Life Changing Experience: have you ever wondered if there was a significant experience that changed you. Someone whom you may have lost, a Grand Canyon river experience, a time when you were graced and survived a situation.

 

Reading/Blog: SS: 225

 

Blog2: Students must write a short proposal explaining what they would like to focus on for the concentration portion of the class. 

Concentration Info:

•    You must create 15- 20 pieces of artwork utilizing the theme that you select
•    These pieces must show a progression and discovery both thematically and technically.
•    You must keep a weekly Blog log of your progress, discoveries, struggles, etc.

The work selected for your final “concentration portfolio” should be your best work Think of this as you would a scientific experiment/investigation – your will start off as a hypothesis and your idea may further develop throughout your investigation – your work should show a process or maturity and discovery

 

Materials that could be used

Clay

Leathers

Feathers

Metal

Straw

Fabric

Wood

Glass

Paper

Photographs

Plastic

 

 

AP Studio Art Drawing Breadth 8

AP Drawing  Breadth # 8 Lesson: A Day in the life of me, my Everyday World

Objectives:

Students will explore the idea of identity in their everyday lives by taking an old photograph and slightly abstracting it into an art piece.

Students will apply methods of abstraction

Blog: Browse the book: http://books.google.com/books?id=GbhZ-fd8kroC&dq=composition+in+art&printsec=frontcover&source=bl&ots=67FAejsnlA&sig=2PwBkP5ZlGsuKtPnOnDCOB2-bgM&hl=en&ei=lqnvStvTOY30sQO4qfnyBQ&sa=X&oi=book_result&ct=result&resnum=5&ved=0CBoQ6AEwBA#v=onepage&q=&f=false

Make comments on what you learned about composition in your blog

Sketchbook: Do 10 thumbnails of the compositon for your final piece in your sb.

Gerard Richter Liebespaar im Wald Lovers in the Forest 1966 Oil on canvas http://www.gerhard-richter.com/art/paintings/

Robert Longo Untitled (Puncher) 1978 Charcoal and graphite on paper http://www.robertlongo.com/work/gallery/1122

   


Project PORTRAIT COMPOSITION: Paint or draw an abstraction from an old family or personal photo paying special attention to issues of VALUE and EMPHASIS..

AP Studio Art Drawing Breadth 7

Landscape Painting in Oil

Alyssa Behne, AP student

AP Studio Art 3D Breadth 5

Idenity Self-Portrait: see the power point on the website:
https://sites.google.com/a/adams12.org/dowlingpottery1/  under the identity file.


Robert Arneson

Watch this video:

http://www.sfmoma.org/explore/multimedia/interactive_features/5#

AP Drawing Breadth 6, Juxtaposition

Juxtaposition is collage, which means placing one image in the context of another. Juxtaposition can also mean relating one idea to another; this is conceptual collage. In both cases, the juxtaposition constructs meaning by setting up a relationship between the entities that are put together. This is a relationship based on a shared concept. When we see these entities together we search for and discover that concept that links them.

 

Assignment:

Create a work of art related to an unusual juxtaposition. Consider concepts and items that normally wouldn’t be seen together. Look at the surrealists and modern day illusionists for ideas. Remember that according to André Breton, who published "The Surrealist Manifesto" in 1924, Surrealism was a means of reuniting conscious and unconscious realms of experience so completely, that the world of dream and fantasy would be joined to the everyday rational world in "an absolute reality, a surreality." Surrealism and juxtaposition art also plays with scale and emphasis, making the relationship between objects unusual and out of normal scale.

Student Concentration using juxtaposition
http://apstudioartatwoodstock.blogspot.com/2011/11/concentration-surreal-juxtaposition.html

Juxtaposition: Joining two or more images to create a new image.

 

 

AP 3D Breadth 4 Juxtaposition

Juxtaposition

How does the juxtaposition of materials in an art work create meaning?

Assignment: Use juxtaposition to create a unique ceramic or mixed-media art piece.
Reading: Shaping Space pp. 28-33

Look at the images and video (links) below to see examples of juxtaposition.

Surrealism-

a 20th-century avant-garde movement in art and literature that sought to release the creative potential of the unconscious mind, for example by the irrational juxtaposition of images.

 

Juxtaposition refers to an act or instance of placing properties together, especially for the purpose of comparison or contrast. Beyond creating visually interesting effects, such juxtaposition brings different trains of thought into relation and creates debate. The nature and outcomes of such debate can be shaped by the artist’s choices, although as an approach commonly used in Postmodern art, such debate rarely declares a distinct point of view. http://vimeo.com/14264324

Meret Oppenheim's, Fur Cup was created in the art period of Surrealism and represents juxtaposing various materials but also the idea of the odd sensation it would be to drink out of a fur cup

Scroll to the video below:
http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A4416&page_number=1&template_id=1&sort_order=1

                                                   

Michelle Taylor modern version's of Meret Oppenheim's cup



        Brad Bachmeier
The familiar image of the UPC bar code on this hand-made wheel-thrown ceramic vessel creates an immediate and ironic juxtaposition. In the vocabulary of this body of work, the modern symbol hints at commercialism, marketing and consumerism as well as setting forth questions about the application of this artificial symbol on this organic matter implying deeper impositions of technological advances.

 

This vessel form uses the ancient term philatory, a word used to describe a niche which contains something sacred while allowing you to see the object. In this case we are peering at three human moral plagues in modern forms, namely: Power, Possessions and Pleasure. The figurative element to the vessel provides both a personal and generalized human attachment to these large issues. The Golem-like figure illustrates how mindlessly human motivations and actions can be considered.      Magnus Gjoen’s  shows the juxtaposition between the beautiful and the destructive or undesirable.   Ai Wei Wei     Roberto Lugo                                   “Weight Loss Attempt Via Suicide with A Toy Gun”   Carlos Dye     Constructing personal narratives through popular imagery based on memories of my life, and dreams is the foundation of my work. In my work there is angst, happiness, temptation, and sorrow that I transcribe through iconography, and symbolism. The illustrations displayed in my work creates a natural confusion for the viewer when juxtaposed among conflicting images. This illusory approach creates consonance for the viewer.       

AP Drawing Breadth 5

AP Drawing Breadth #5 Line and Emotion  

 

Reading/Blog: DCA, pp 52-66, Chapter 5, Colston 86-87 scan a childhood drawing scan the sketchbook drawing and comment on the experience and add to your blog.

Sketchbook: Recreate a childhood photo using one of the types of line described in Drawing:  a Contemporary Approach chapter 5.     Think about how you felt at the time the photo was taken. Were you happy? The lines might be Lyrical: twirly and light.  Angry?  The lines might be Constricted/Aggressive : heavy and strong.  Shy?  Calligraphic. Do the exercises on 132-134 before you tackle the drawing.                                             

Project: Create a self portrait today using the same idea as the sketchbook assignment.

·         We can take your portrait and edit it in Photoshop but also use the mirror as reference and set up a light.

·         Do 10 or more thumbnail sketches to work out the composition.  Where are you on the picture plane?

·         Begin with creating several contour line drawings (p. 125) on newsprint using a felt tipped pen. Remember to show a light source with thin and thick lines.

·         Choose one contour line drawing and fill with cross-contour lines using the felt tip pen. (p. 129). Remember to show a light source with thin and thick lines

·         Begin sketching your final drawing with pencil very lightly. Add the light source.

·         Fill at least 90% of the 18 x 24 inch page with your portrait.

·         Choose your medium: charcoal, sharpie or conte crayon

·         Test out the medium with mark making different lines on paper

·         Add your lines

· Spray with fixative and prepare for presentation

 

Pottery 1 Bowls

Visit this website to see a famous potter/designer work with clay.
http://www.youtube.com/watch?v=XzmsGPaw0ZE&playnext=1&list=PL2116693520C68227&feature=results_main

http://www.jonathanadler.com/bowls/

http://www.youtube.com/watch?v=_GOzedoMZIg

Bowls by artist Jonathan Adler:




Non-Functional/Decorative  Bowls



Francesco Ardini
: Envelopes series, 2012, Stoneware, glazes

 

Pottery 3 Prototypes

Visit this site on creating protoypes

http://ceramicartsdaily.org/pottery-making-techniques/making-ceramic-molds/combining-histories-make-scan-mill-print-adjust-repeat/



As part of a joint project between the author and Guy Michael Davis, the taxidermy rat on the right was scanned in using a Konica Minolta three-dimensional scanner. The digital file produced was used to print both a larger and small prototype (shown here) in a plaster-like material on a Z-Corp 510 three-dimensional printer. The prototypes were then used to make molds for casting porcelain.

AP Drawing Breadth 4

Here are some examples for the exaggerated self-portrait.
       

GO  http://www1.dcsdk12.org/secondary/trhs/staff/wilson/artdept/powerpoints/partoneselfportraits.htm

Pottery 1 Bowls

Pottery 1
Part 1 Videos on techniques
Take good notes on these videos, you do not need to write everything down, just the basic techniques.

Making a slab bowl using a hump mold, poor quality but good information.
http://www.youtube.com/watch?v=5a7q8GNVd6A

Alternative to hump mold, making a bowl using a template
http://ceramicartsdaily.org/clay-tools/decorating-tools/handbuilding-video-sandi-pierantozzi-demonstrates-how-to-use-a-template-to-make-a-textured-soft-slab-built-bowl-with-a-wrapped-rim/

Part 2: Drawings

1. Drawings and rubrics due at end of class today. The following materials are on side counter near the front white board.
2. Bowl Sketch/Plan Rubric, it has a rubric and a drawing on it. Please review section 4 of the rubric.
3.      Finish 3 small sketches in your binders and then work on large sketches for bowls project, pass out bowl pictures, large paper, boxes of pastels, watercolors and markers. There is a drying rack in the side room where they store their greenware incomplete clay work). 
4.  Fill out the rubric with the score you should recieve.   Check to see if their name is on the large drawing and the rubric.       Give to teacher/sub.

Pottery 1 Elements of art

Watch:
http://www.slideshare.net/djmunson/elements-of-art-2009

AP 3D Design

Creating Multiples
Visit:
http://ifitshipitshere.blogspot.com/2009/09/ordinary-objects-become-art-when-slip.html


Shalene Valenzuela

AP 3D Breadth 3:     Multiples and Modulars:  

Objectives   Students will be able to…

understand and experiment with the elements and principles of "modularity, "repetition," and "rhythm" in the construction of three-dimensional form.

explore how sculptural form is often a matter of how "the whole is greater than the sum of the parts." To explore the pluses and minuses of "modularity" and "manufacturing." To consider the needs of the user.

introduce methods for creating identical parts from unique prototypes using such devices as molds, templates, and jigs. To explore different materials and methods for attaching and/or connecting multiple parts.

Multiples: wax or plaster poured into clay molds and then assembled into a formal 3-D design

Modular designs created by using paper tubes and other geometric forms.

Choose one or more Modular development:

·         Five to seven large forms or 15 to 20 smaller forms assembled into a formal 3-D designs emphasizing color and/or surface treatment.

·         Rhythmic constructions using at least 100 pieces of the same small common object, emphasizing horizontal or vertical movement

Describe the techniques used to create the sculptures and explain how various aspects of the problem were addressed such as material choice, the flexibility of the module, the method of creating multiples, etc

Reading: SS: 153-174

Resources:

Le Corbusier: http://www.greatbuildings.com/buildings/Carpenter_Center.html

Wharton Esherick:  http://www.levins.com/esherick.html

Dan Flavin  http://www.diaart.org/sites/main/danflavinartinstitute

Sol Lewitt: http://www.asu.edu/cfa/wwwcourses/art/SOACore/Lewitt_portfolio.htm

 

Visit this site for 3D Design mulitples examples
http://www.mercyhs.org/academics/teachers/gbennett/apstudioart3ddesign/ap_studio_art_Examples_for_Concentration_Idea_.htm

I continue to be drawn to sculpture, wall art, tiles and jewelry made with multiples. There is something about a repetitive form that feels familiar, soothing – almost meditative.

Movement Stack 1, earthenware, slipcast, 5″ x 7″ x 5″

Dryden Wells, who holds a BFA in ceramics and an MFA in ceramics and sculpture, uses multiples and fragments “to create objects that imply movement or the evidence of it.” Organic. Interesting. Cohesive.

 

 

 

Eva Zeisel, Belly Button Tiles

 

 

Jeanne Quinn, Everything Is Not As It Seems, detail, porcelain, wire, electric hardware, 2009.

Yeon joo Lee

 

Baggage of Life, each piece 14 in. (36 cm) in height, slip cast, electric fired to cone 6.

http://www.debrasloan.com/blog/?p=301

 

http://www.jaimetreadwell.com/multiples.htm  GREAT BLOG!

 

Tara Donovan is a master of minutiae, a magician of the mundane. And if her large Minimalist sculptures are any indication of her temperament, she is also an ice princess and a bringer of light. Each of her installations engages with space, architecture and light; and because she reinstalls, and often rescales, the sculptures to fit each venue, she refers to her artworks as "site-responsive." Ms. Donovan's sculptures are made from multiples of a single mass-produced object or material -- hundreds of thousands (sometimes millions) of pencils, twist ties, paper plates, drinking straws.

 

http://maliajensen.com/sculpture/sculpture_010.html

Chris Wight: Organic Modular Construction (detail)

 

 

 

AP 3D Design

Please go to our website: https://sites.google.com/a/adams12.org/dowlingap/  , files,  breadth 2 elements to see next assignment

Drawing and Painting 2 & 3 Jim Dine and The Art of Mark Making

Jim Dine is a contemporary artist who uses popular imagery and every day objects in his work. He is a master of mark-making.  We will research his work and create pieces inspired by everyday objects and new mark systems.

Jim Dine

Seven White Hammers

2008

Etching, aquatint and drypoint with hand coloring in acrylic and charcoal   Jim Dine Jim Dine at DAM

Drawing and Painting 2, 3 & A.P.

Objective: Students will learn methods of introducing themselves and ways of working together in an art studio.

Welcome to Pottery
Please find your seat by looking for the sticky note with your name on it.

Please introduce yourself to the students at your table using the format below:

"Hello, my name is__________________,what is your name? Nice to meet you."

Drawerades: (do not worry about your quick drawing skills, this is like pictionnary)

1. Using the supplies in your tool kit to draw a self-portrait (head only is fine).

                    Vincent Van Gogh

Pottery 1, 2 & 3

Objective: Students will learn methods of introducing themselves and ways of working together in an art studio.

                             Welcome to Pottery
Please find your seat by looking for the sticky note with your name on it.

Please introduce yourself to the students at your table using the format below:

"Hello, my name is__________________,what is your name?          Nice to meet you."

Clay Expectations

• Do not throw clay
• Do not eat clay

Class Expectations

• Do not eat or drink in art studio
• No cell phones or other electronics without teacher permission (for a class project)
• Use school-appropirate langauge and art depictions

http://www.youtube.com/user/Sculptorades

Sculptorades:

(do not worry about your scupting skills, this is like pictionnary in clay.)

Get your teammates to guess what’s on the card by sculpting in clay with no talking or gestures.

If your team does not successfully complete

the activity, you earn no points. It is now the other team’s turn, and your team sets up the challenge.

Once you have played 2-3 cards we will switch partners and then tables

The joy of art-making

            

1. Do you remember the first time you made a clay/play dough project?
2. What was it?
3. Do you still have it?

What has four doors, weighs 1.5 tons and isn't going anywhere fast? A Chevrolet Orlando made out of 10,000 pots of Play-Doh! To unveil the UK launch of their new family sedan, Chevy commissioned a life-sized replica of the car and parked it on London's streets.

Eight model makers took two weeks to construct the aquamarine auto, according to the Daily Mail. The project cost nearly $10,000.

AP Studio Art Summer Work

Hi AP students, I do not see any posts yet, remember  you need to post at least 3 times this summer.  Review your summer assignments handout or read the last post here. You can go to comments below each post or Keaton and DeAnjelo can post in the blogs we made in class.  Happy art making!

AP Studio Art 2012-2013

Welcome to AP Studio Art
Keep checking this blog all summer, you will post photos of your work, write about your art musuem/gallery visit and comment on your classmate's work.

Check out the cool portfolios below:
Hannah, 2-D Design:  http://shownd.com/nicolemuccino/53049/Concentration-
Keaton, Drawing: http://www.youtube.com/watch?v=C_kkdRZ5KQw
DeAnjelo, 3D Design: http://apcentral.collegeboard.com/apc/members/exam/exam_information/218368.html
http://apcentral.collegeboard.com/apc/members/exam/exam_information/213881.html
http://apcentral.collegeboard.com/apc/members/exam/exam_information/218369.html
http://apcentral.collegeboard.com/apc/members/exam/exam_information/218370.html
http://apcentral.collegeboard.com/apc/members/exam/exam_information/218391.html
http://apcentral.collegeboard.com/apc/members/exam/exam_information/214685.html

Congratulations AP Studio Art

AP Studio Art

I hope the concnetration pieces are going well.  You should be working towards the next deadline:
Artworks 6,7,8 are due March 23rd.  Take photos of these and work with Mr Wimmer and Mr Rowsam on entering the pieces into the AP website.

AP Studio Art Deadline 2

AP your next deadline is on Friday February 24th.  You need 3 more concentration pieces completed.  Also continue to add images and comments to your blog.  Fill out the rubric that Mr Wimmer has and continue to foucs on how you will write you artist (concentration) statement.

AP Studio Art Upcoming Deadline

AP Studio Art

Concentration:

I will communicate with these students via my blog: http://mrhsartteacher.blogspot.com/  this is a good reference for you as well.

IMPORTANT DEADLINES

Here are your deadlines for the concentration pieces this year:

Artworks 1, 2 and 3 are due January 27th, for critique, for a grade and photographs.

Artworks  4, 5, and 6 are due February 24th

During your time:   Artworks 6, 7, 8, are due March 23rd

Artworks 9, 10, 11, and 12 are due April 27th

The rest of the time before the portfolio due date will be used to redo or create new pieces, take photos, prepare your statement and get the portfolio in order.

Portfolios Due: Have Ready by the first week of May MAY 4th

From the AP Studio Art Drawing Concentration Website Page

The concentration encourages the student to learn to put together a cohesive body of work. It is a challenging proposition, but there are any number of ways to help students think about their concentration. The goal is to have the student create work that holds together visually and conceptually. The idea does not have to be grandiose - it can be a simple idea explored well.

·         Scoring Guidelines
The judges will be looking for:
Coherence and/or development - is the work presented actually a concentration?

·         Quality of the concept/idea represented - is there evidence of thinking and of focus?

·         Degree of development and investigation that is evident in the work - including the amount of work or number of pieces represented.

·         Quality of the work in both concept and technique.

·         Mastery of drawing techniques

·         An evocative theme and original vision

·         Excellent Quality

·         This power point shows works and what scores they received

Show students this if they have questions:
CONCENTRATION Power Point: http://www.fcds.org/faculty/RebeccaStoneDanahy/web/ap/Concentration%20%5bCompatibility%20Mode%5d.pdf

Helpful tips for your concentration:

KEEP IT SIMPLE! If your concentration were a book and each artwork a page, how would all of your images connect together to be unified?

How would the viewer be able to visually connect your images? How can you present a visually coherent body of work?