ART 501 - Junior Practicum • ART 601 - Senior Practicum
Winter Term 2020 • Monday & Wednesday 8:30 - Noon • Wriston 105
 
 
CONTACT:
Instructor: John Shimon, Associate Professor of Art
Email: shimonj@lawrence.edu (best way to reach me outside of class)
Office: Wriston Art Center #109, 920.832.6534
Office Hours: Tue 10:00-noon and by appointment.

COURSE DESCRIPTION:
ART 501 – Junior Studio Practicum - The primary purpose of this course is to assist in the research, planning,
design, and preparatory development of junior level Studio Art majors as they begin the process of conceptualizing and creating
a mature body of work for the Senior Exhibition and/or an Honors Project. The term will culminate with the junior practicum
exhibition in the Mudd gallery or TBD. This course will be taught as a seminar with emphasis on the studio component.

ART 601 – Senior Studio Practicum - The primary purpose of this course is to galvanize and standardize the
students' preparations for the Senior Exhibition major requirement. By immersing you in creating and exhibiting an advanced,
mature body of work with faculty and visiting creator oversight, we expect to see a strengthening of your synthesizing of
information, ideas, and conceptual concerns accumulated over the course of your Studio Art education. Secondary concerns are
reflection, assessment, and documentation of work produced. The term will culminate with a brief artists’ talk ppt. This course
will be taught as a seminar with emphasis on the studio component.

Most days will have an 8:30-10:30 AM work period with instructor present. Course discussions
will take place promptly at 10:30.

LEARNING OUTCOMES (students should be able to):

1. Demonstrate knowledge and technical abilities appropriate to your chosen medium including a sensitivity to
materials and an understanding of traditional and non-traditional approaches.
2. Become familiar with media-specific differences used by peers in the course.
3. Develop a critical awareness with emphasis on concept and content.
4. Develop effective visual, verbal, and critical communication skills.
5. Apply problem-solving strategies to the creation of artworks in a manner consistent with contemporary
practice.
6. Contemplate the relationship between theory and practice.
7. Understand how practice never makes perfect but does extend dialogues.

CRITERIA FOR EVALUATION:

1. Body of Work & Artist Statement (45%): Completion of a body of work for exhibition including all
outlined steps: An artist statement, presentation plan, and documentation. Late projects and/or missed
deadlines receive a lowered grade for each class meeting they are late (e.g. an A gets lowered to a B if one
(1) class late, to a C if two (2) sessions late).
2. Attendance (15%): Attend and be on time and present for ALL class meetings including work sessions.
Only ONE excused absence will be allowed. Leaving early will be counted as an absence. Provide a medical
or other official excuse for all absences. Repeated absences and habitual lateness will adversely affect your
attendance grade (e.g. an A gets lowered to a B if two (2) absences, to a C if three (3) absences, etc.).
Arriving late or leaving early three (3) times will equal one absence.
 3. Participation (15%): Actively participate in all discussions of readings. Your ability to lead a
discussion, help others understand material, articulate your ideas and observations, and define your own
work is important. Readings and discussions are designed to enhance your understanding and give you the
intellectual tools to produce, critique, and discuss works of art, both your own and that of others. You will
be graded as follows:
A - you regularly have prepared, thoughtful responses to the texts and are willing to share them. You
enter into dialogue with others, both to challenge and support their ideas, and you frequently offer
examples and analysis from the texts to back up what you are saying. Your understanding of readings is
impressive, and you are both articulate and insightful as you express your ideas in discussion.
B - you regularly have prepared, thoughtful responses to the texts and are willing to share them.
C - you are doing average work, speaking on most days. You may occasionally engage the ideas in the
texts or those raised by classmates.
D - you participate infrequently, your comments are unrelated to the texts, and they do little to
advance our understanding of the texts or other issues under discussion.
F - you haven’t been participating at all and are frequently disruptive, disrespectful, or unprepared for
class (e.g. not having completed the reading; arriving without the book; sleeping or typing during class).
4. Reflection Papers (15%): Complete three (3) reflection papers and critique reports worth 5% each on
assigned topics to be graded √+ (A), √ (B), √- (C).
5. Artists’ Life Research Presentation (10%): Conduct and present research on an artist on due date.
Presentations will be graded based on the depth of your research, quality of visual design, and strength of
your oral communication skills.
6. Honor Code: Please reaffirm the LU Honor Code in writing with each submitted project or paper.

STUDIO SPACE:
1. Lab Hours: A minimum of 4-6 hours (outside of class) is expected each week. Your Lawrence ID card
allows 24-hour access to Wriston Art Center. Security may ask to see your student ID and Wriston pass.
Studio Assistants’ hours for the 2-D (printmaking, painting, photography, digital) and 3-D (sculpture,
ceramics) are posted in each studio.
2. Safety: All safety regulations must be followed in each studio, including proper clothing and footwear. When
working after hours in the Wriston Art Center studios, have someone with you for your safety. We
understand the demands of your full schedules and that creative inspiration can happen at any time so it is
important to us that you retain 24-hour access to the building.
3. Building Monitor Hours: Mon – Fri 7:00-10:00 PM and Sat – Sun 2:00-10:00 PM
4. Devices: No cell phones, audio players or other noisy electronic equipment are to be used during class! Headphones
may be worn during work time only.
5. Makerspace and 3D Printing/Scanning The main purpose of the Makerspace is for Lawrence
students to gain hands-on learning experiences and have the opportunity to develop a concept from an idea
to a physical object. Makerspace also features a digital vinyl cutter, sewing machine, and collaging station!
http://guides.lib.lawrence.edu/content.php?pid=676795&sid=5609996

MATERIALS REQUIRED:
1. Books: 1) Practice (Whitechapel: Documents of Contemporary Art) edited by Marcus Boon
and Gabriel Levine, ISBN: 978-0-262-53539-7, 2018 2) OPTIONAL TEXT: Battenfield, Jackie.
Artist’s Guide: How to Make a Living Doing What You Love (Da Capo, 2009)
2. Supplies: Because students will be working in various media, it is up to you to secure the necessary access,
supplies, materials, equipment, frames, matt board, and other display materials required to complete your body
of work. Check with instructors in respective areas for availability and support.

INFO/RESOURCES: Student discounts are available with a valid student ID--don’t be afraid to ask.
1. Supplies Locally: LU Dept. of Art offers select materials to be charged to your student account,
Hobby Lobby, 346 N. Casaloma Dr., (920) 739-3220, Jack Richeson & Co., 557 Marcella Street,
Kimberly, WI, (920) 738-0744, Fox Valley Thrift Shoppe, 231 South Walter Avenue, (920) 954-9200,
Mills Fleet Farm, 3035 West Wisconsin Avenue, The Home Depot, 2201 S Kensington Dr, (920)
734-8231, Green Bay Blue for large display prints, greenbayblue.com (920) 468-7233, Foxley’s, 623 W
College for mounting large prints up to 40x60 inches (gives 25% artist discount).
2. Supplies Online: Dick Blick, (800) 828-4548, www.dickblick.com
3. Art Info Online: newsgrist.typepad.com, artsjournal.com, artnet.com/Magazine, theartnewspaper.com,
 artdaily.com, pbs.org/art21, artillerymag.com, thedailybeast.com/art.html, artfagcity.com, brooklynrail.org,
coagula.com
4. Art Info @ Mudd Library Periodicals (Level A): Get in the habit of perusing the art magazines
available at the library including: Art in America, Art Forum, Art News, and Flash Art.
5. LU Digital Image Collections: ARTSTOR, CONTENTdm (access through library’s page on LU
website)
6. Academic Accommodations for Students with Disabilities: Students who have a disability
covered by the Americans with Disabilities Act are entitled to academic accommodations: Students must
initiate all requests. Please contact the Office of Student Academic Services (ext. 6530) for information and
advice.
7. Health & Wellness: Balance results from two skills: avoiding imbalance through careful planning, and
managing and containing imbalance when it occurs. See full statement on lawrence.edu “healthy balance.”

BIBLIOGRAPHY (* = on reserve, available at the library)

BOOKS:
*Battenfield, Jackie. Artist’s Guide: How to Make a Living Doing What You Love (Da Capo, 2009)
* Boon, Marcus and Levine, Gabriel. Practice (Documents of Contemporary Art) (MIT 2018)
Falick, Melanie Making a Life (Artisan, 2019)
Le Feuvre, Lisa. Failure: Documents of Contemporary Art (MIT, 2010)
Jacob, Mary Jane and Grabner, Michelle. The Studio Reader (University of Chicago Press, 2010)
Kelley, Mike. Day is Done (Gagosian, 2007)
Lazzari, Margaret R. The Practical Handbook for the Emerging Artist (W. Thomson Learning, 2010)
Louden, Sarah. The Artist as Cultural Producer (Intellect, 2017)
Louden, Sarah. Living and Sustaining a Creative Life (Intellect, 2013)
Madoff, Steven Henry. Art School: Propositions for the 21st Century (MIT, 2009)
Odell, Jenny. How to do Nothing (Melville, 2019)

DVDs:
Art Safari BBC directed by Ben Lewis (2009)
Art 21: Art in the 21st Century (Seasons 1-5) by PBS
Ray Johnson: How to Draw A Bunny by John Walter & Andrew Moore (2000)
Pecker by John Waters (1998)
Paul McCarthy: Destruction of the Body by Jorg and Ralf Raino Jung (2004)
Andy Warhol: A Documentary Film by Ric Burns (2006)
Louise Bourgeois: The Spider, the Mistress & the Tangerine by Marion Cajori/Amei Wallach (2008)
Who Gets to Call it Art: The Legend of Henry Geldzahler by Peter Rosen (2005)
Beautiful Losers by Shepard Fairey, Ed Templeton, Aaron Rose, et. al. (2009)
Waste Land by Vik Muiz and Lucy Walker (2010)

Alison Knowles, Make a Salad, 1962. Performed at the Chelsea Market Passage on the High Line in New York City,
22 April 2012.
 COURSE CALENDAR
NOTE: Schedule is subject to change. It is your responsibility to keep up with any changes!

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WEEK 1

JAN 6 (M) 8:30 AM - INTRODUCTIONS: Survey, syllabus, expectations, and policies.

DISCUSSION: WRITING YOUR PROJECT/EXHIBITION PROPOSAL: Include description, quantity of work,

timeline, and bibliography. Check out a related book from the library. Graduating seniors should include their Senior
Experience title in their proposal for review. The Registrar’s Office needs this information by April 8. It will be
entered in the LU database as part of your permanent academic record and will be included in the Commencement
Program. Use this form to submit your title: https://www.lawrence.edu/mw/senior_experience_title.pdf.
RECOMMENDED READING: The Artwork is Most Important, Lazzari, p. 3 -13

BODY OF WORK & ARTIST STATEMENT

Your primary aim will be to complete a body of work properly presented with an artist statement, exhibition list,
and documentation for the Studio Art Majors Senior Exhibition. You must demonstrate a mastery of
technique and concept in your medium/media of choice, participate in a group critique, maintain a
sketchbook/notebook of ideas and feedback, and keep a supply of materials/equipment necessary for completing
your work.
REQUIREMENTS:
1. Write a 1-pg. proposal describing the body of work you plan to complete this term by 1) explaining your
concept and 2) quantifying it by stating exactly how many works you will produce for presentation. Address
how the work builds on or expands existing skills and interests. Next create a 1-pg. timeline listing your
weekly action steps and anticipated outcomes. Provide a historic/contemporary context by checking out at
least one book from the library related to your planned body of work and bring to class along with your
proposal for discussion. DUE: JAN 8 (W).
2. Participate in the Art Salon work-in-progress critique.
3. Write a 1-pg. artist statement and create a fact sheet/exhibition list including title, medium, dimensions,
installation needs, and prices. Review with class on DUE: FEB 10 (M). FINAL DUE MAY 15 to gallery.
4. Document your work. Write a 1 pg. self-assessment and your 1 pg. artist statement and provide to
instructor on the last day of class and give a PPTX presentation on your body of work containing at least 10-20
images placing it in the context of historic and contemporary art and art movements. DUE: MAR 16 (M).
Senior Studio Art Majors are required to upload 4 TIFFs or HI-RES JPGs (3 details and 1 installation shot from
the Senior Exhibition), an artist statement to LUX, and provide a signed permissions form. DUE: MAY 22.
5. Help promote the exhibition through your FB social network and distributing post cards.
EVALUATION (faculty will evaluate the following):
1. Artist Statement: Relevant and specific to the body of work
2. Body of Work: Consistent and cohesive
3. Development of Ideas: Mature, push beyond the obvious
4. Concept & Creativity: Surprising or innovative approach to subject matter
5. Craftsmanship & Technical Ability: Proficient and skilled in execution
6. Presentation/Installation: Well thought out display methods

JAN 8 (W) 10:30 AM - PROPOSALS DUE: Explain your body of work and timeline to the group for
feedback. Hand in hard copies to instructor. Bring a book related to your work to discuss.

FOR NEXT TIME READ: Boon/Levine p. 12-23, The Promise of Practice, p. 213-214 Carolee Schneemann, and p. 32-
33 Alison Knowles

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WEEK 2

JAN 13 (M) 10:30 AM - THINKING ABOUT PRESENTATION: How should artists go about designing
an installation for a gallery or other space? What special considerations need to be made for sculpture, installations,
and videos versus more traditionally framed 2-D works such as paintings and photographs? How literal and
specific does the thesis of your work need to be? How do you feel about mystery and
ambiguity in art? RECOMMENDED READING: Taking Control of Showing Your Work, Lazzari, p. 31 – 42.

DISCUSS READING: Boon/Levine p. 12-23, 32-33, 213-214

FOR NEXT TIME READ: Boon/Levine p. 73 Relyea, p. 100-102 Chicago, p. 190-193 Abramovic

JAN 15 (W) 10:30 AM – DISCUSS READING: Boon/Levine p. 73 Relyea, p. 100-102 Chicago, p. 190-193
Abramovic

JAN 17 (F) 6:30 PM – Attendance Recommended: Artist Talk by Maeve Jackson, reception with
refreshments to follow, Wriston Art Galleries.

As an emerging artist, Maeve Jackson is resistant to being associated with any single medium though she prefers working with
the platforms of video & photography. Her work has been shown in numerous group exhibitions in Milwaukee, as well as
Brooklyn, NY; Greensboro College, NC; Chicago,IL, and Barcelona, Spain. She has been featured in exhibitions at John Michael
Kohler Art Center (Sheboygan, WI); and locally at (the once) Dean Jensen Gallery with a solo exhibition at The Alice Wilds. In
2016, she attended the artist-in-residence program, Hotel Pupik, in southern Austria. She recently was accepted to the 2019
Cow House Studios Open Residency Program in Wexford, Ireland this coming June. Her film, "the beautiful", continues to
screen across the USA after it's 2017 premiere. She currently is working on her next film, a non-traditional documentary about
her family's farmland.

Currently, Maeve is working as freelance videographer & photographer & prop stylist -- as well as co-runs the local artist
initiative, MOXY Studio. She has worked with numerous groups such as: Temporary Resurfacing, Milwaukee Film, Milwaukee
Institute of Art & Design, and Milwaukee Art Museum.

WEEK 3

JAN 20 (M) – Martin Luther King, Jr. Day (no classes)

JAN 21 (T) 4:30 PM - Wriston Auditorium – ATTENDANCE REQUIRED: Visiting MMoCA

Curator Leah Kolb: Take notes and prepare to create a 1-page reflection paper, DUE: Wed, Jan. 27.

Leah Kolb is Curator of Exhibitions at the Madison Museum of Contemporary Art. At MMoCA, she has organized over twenty-
five exhibitions, largely focusing on contemporary artists who address complex sociopolitical concerns and offer alternative
perspectives to dominant narratives. She has authored or contributed to nearly ten accompanying publications, including the
definitive catalogue raisonné of Frank Stella’s prints (2016) and an updated and expanded print catalogue raisonné of artist
Terry Winters (2020-21). Kolb also serves on the museum’s leadership team, developing strategies for extending the relevance
and power of art to broader populations throughout the city, and for augmenting the museum’s role as a cultural driver.
Outside of MMoCA, she co-founded Bridge Work, a professional development program that provides emerging artists with
opportunities to professionally present their work and develop institutional recognition.

JAN 22 (W) 8:30-Noon - Visiting Curator Leah Kolb: Individual critiques with Leah. Fill out your report
sheet and hand in to instructor with reflection paper. FOR NEXT TIME READ: Boon/Levine p. 34-39 Yoko, p. 186-
188 Cut
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WEEK 4

JAN 27 (M) 10:30 AM – PHOTOGRAPHING YOUR ARTWORK DEMO and WORKSHOP: Lighting set-up and
exposure, use of DSLR, color accuracy, difference between TIFF and JPEG file format.
DISCUSS: Boon/Levine p. 34-39 Yoko, p. 186-188 Cut
Leah Kolb reflection due.

JAN 29 (W) 10:30 AM -Assign ARTIST’S LIFE ppt: Choose a favorite contemporary artist to report on,
being mindful that you need to be able to find sufficient biographical data to speak about their lives and work. Be
prepared to discuss your choice.
Foreground: Ceiling Painting (Yes Painting) (1966), Yoko Ono, Text on paper, glass, metal frame, metal chain, magnifying
glass, painted ladder. Installation at Japan Society Gallery, New York. Photo by Sheldan C. Collins. Collection of the artist
© YOKO ONO
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WEEK 5

FEB 3 (M) 10:30 AM – UPLOADING YOUR IMAGES TO LUX INTRO & RESEARCHING ARTIST’S LIFE
WORKSHOP (ITC LAB): Colette Lunday Brautigam will talk about LUX and advanced research methods to
search out information and images for artists.

ARTISTS’ LIFE RESEARCH PRESENTATION

Research and present a 10-minute presentation on an artist’s life. Modern artists sought social utopias and
dreamed of massive change through revolution. Post-Modern artists question structures. How did your artist live
their life? What did they believe in and value?
LEARNING OUTCOMES (students should be able to):
1. Research an obscure topic using online sources, ARTstor, current anthologies, books and art periodicals.
2. Present a well-designed, effective PowerPoint presentation with a clear thesis and argument.
3. Think analytically about utopian ideals, then articulate findings before a group of peers.
4. Understand how art and life intertwine.
REQUIREMENTS:
1. DEVELOP A THESIS & CONDUCT RESEARCH: Get books from the Mudd Library (some are
shelved in oversize area [q]) or via interlibrary loan. Search the Internet for online journals, blogs, or
websites, and the library for print periodicals containing historic articles or critical/analytic essays or
reportage.
2. SELECT IMAGES: Visit ARTstor or credible web sites to select digital images. (Optimal full-screen
image/JPEG size is: 1680 x 920 pixels). Use approximately 10-20 images to illustrate specific points you are
making. Carefully “Read” each image you show and have a talking point for each.
3. DESIGN SLIDE SHOW: Use PowerPoint to design your slide show in colors and fonts appropriate to
the subject. Label slides with names, dates, and locations to help viewers understand the relevance of each
image. Start by stating the title of your presentation and thesis then end with your bibliographic sources. A
few bullet points and quotes in your PPT are okay, but avoid reading your report off the screen!
4. PREPARE OUTLINE, BIBLIOGRAPHY and SELF-EVALUATION: Your 1 pg. outline
must contain your thesis and key points. Your 1 pg. bibliography listing at least 3 sources (book,
printed periodical, online journal or website). Your 1 pg. self-evaluation should reflect on the process
of completing your research.
5. PRESENT REPORT: Present your 10-minute research report to class. Talks going substantially
beyond designated time limit will receive a lower grade.
6. HAND IN: 1 pg. outline, 1 pg. bibliography, and 1 pg. self-evaluation.
DUE: FEB 24 (M) or MARCH 2 (M) – Late presentations will not be accepted and will receive
an F

FOR NEXT TIME READ: Boon/Levine p. 68 Vicuna, p. 157-158 Butler, p. 205 Alys

FEB 5 (W) 10:30 AM – DISCUSS READING: Boon/Levine p. 68 Vicuna, p. 157-158 Butler, p. 205 Alys

ARTIST STATEMENT: Prepare a one-page artist statement, to be read aloud on Feb. 10 (M)

FEB 6-9 MID TERM READING PERIOD

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WEEK 6

FEB 10 (M) 10:30 AM - DESIGNING AN INSTALLATION, EXHIBITION LIST, PRICING,

ARTIST STATEMENT WORKSHOP: Bring your artist statement and a drawing of your installation to class.
Students will read statements aloud and get feedback from the group. Hand in hard copy to instructor.

FEB 11 (T) 4:30 PM – ATTENDANCE REQUIRED: Wriston Auditorium Visiting Artist

Stephen Perkins: Take notes and prepare to create a 1-page reflection paper, DUE: Mon, Feb. 17

I was born in London, England in 1953. I attended art school in the UK and attended the first creative photography program
at Trent Polytechnic, Nottingham. A couple of years later I completed a post-graduate program in art therapy and I worked
for a number of years as an art therapist in the National Health Service. In 1980 I moved to San Francisco and completed
an MA in art after studying with the visual anthropologist John Collier, Jr. For the remaining decade I played in an industrial
performance band, published a couple of art magazines, was active in the international mail art community, was doing
Xerox street art & collecting it, continued photographing my community of artists and political events in SF, collaboratively
organized the Festival of Plagiarism and the Art Strike (199-1993), curated shows in alternative spaces and generally tried
to create trouble.

In 1990 I moved to Iowa City to do a PhD in the Art History department at the University of Iowa with a specialty in artists’
periodicals and alternative printed matter with an emphasis on Fluxus periodicals. In 2000, I was hired as the curator of the
University of Wisconsin-Green Bay’s Lawton Gallery. I continued in that position until 2015 when I retired and I have
recently moved to Madison. I continue writing about artists’ periodicals and am presently working on a sourcebook on artists’
periodicals with a French colleague. I’m an advocate of artists’ accordion books and have a blog dedicated to this unique
publishing genre, and I continue my own work in photography and assorted printed matter interventions and have just
started a new home-based gallery in my home in Madison called Subspace.

FEB 12 (W) 10:30 AM – 8:30-noon– Visiting Artist Stephen Perkins: Individual critiques with Steve.
Fill out your report sheet and hand in to instructor with reflection paper.
DISCUSS READING: Boon/Levine p. 135-141 Rainer and Oliveros

FEB 12 (W) 4:30 PM - ART SALON GROUP CRITIQUE: All students present work for feedback.

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WEEK 7

FEB 17 (M) 10:30 AM – A visit with Maeve Jackson

Stephen Perkins reflection due.

4:30 PM Wriston Auditorium: Film & Video Screening with Maeve Jackson
Special screenings of student film/video work around campus to follow

FEB 19 (W) 8:30-noon - Visiting Artist Brian Kluge: Individual critiques with Brian. Fill out your report
sheet and hand in to instructor.

Brian Kluge is an artist working primarily in clay, wood, and digital photography. Born and raised in southern Wisconsin he
earned a Bachelor of Science degree in art education from the University of Wisconsin – Madison and a Master of Fine Arts
degree from the University of Nebraska – Lincoln. Kluge also served as a U.S. Peace Corps volunteer in sub-Saharan Africa.
This influential experience contributed a great deal to the unique aesthetic sensibility in his work. Kluge has taught ceramics as
an adjunct faculty member at the University of Nebraska – Lincoln and Doane College. He was featured as a 2012 emerging
talent in Ceramics Monthly and recently completed residencies at the LUX Center for the Arts and the Roswell Artist-in-
Residence Program. He is currently acting in the capacity of regional liaison for NCECA planning and related projects in the
Madison area in preparation for the 2014 Conference. Kluge continues to show work nationally, most recently in a two-person
exhibition at Santa Fe Clay, a solo exhibition at the Roswell Museum and Art Center, as well as numerous juried and
invitational exhibitions including the Las Cruces Museum of Art, Pottery Northwest, Texas A&M International University, and
the University of Tulsa.
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WEEK 8

FEB 24 (M) 10:30 AM - ARTISTS’ LIFE PRESENTATIONS: several students present

FEB 26 (W) 8:30-noon – INSTALL JUNIOR PRACTICUM SHOW: All juniors will be assigned a task.
This will require collaborative effort!

FEB 27 (R) 5:30–6:30 PM JUNIOR PRACTICUM OPENING: Attendance by all 501/601 students is
mandatory.
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WEEK 9

MARCH 2 (M) 10:30 AM – ARTISTS’ LIFE PRESENTATIONS: several students present.

FOR NEXT TIME READ: Boon/Levine p. 135-141 Rainer and Oliveros

MARCH 4 (W) DISCUSS READING: Boon/Levine p. 135-141 Rainer and Oliveros

FOR NEXT TIME READ: Boon/Levine p. 51-53 Beuys, p. 133 Duchamp

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WEEK 10

MARCH 9 (M) 10:30 AM – DISCUSS PROMOTION: Using networking, mailing lists and social media to
raise awareness of your projects. DISCUSSION: DESIGN OF EXHIBITION INVITATIONS: Design for Senior Show
due on April 1. RECOMMENDED READING: Making Connections, Lazzari, p. 13 – 27, Mailing Lists, Lazzari, p. 46 –
49, Jobs, Lazzari, p. 217 – 229 and The MFA, Lazzari, p. 289 – 302.
DISCUSS: Boon/Levine p. 51-53 Beuys, p. 133 Duchamp

MARCH 11 (W) 10:30 AM – JUNIOR PRACTICUM SHOW WALK_THROUGH: Discussion about

the show and tear-down.

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EXAM WEEK

MARCH 16 (M) 3:00-5:30 – FINAL CRITIQUE: Seniors present ppt of your current work. Write a 1 pg.
self-assessment and 1 pg. artist statement to hand in to instructor and give a PPTX presentation on your
body of work to the class, containing at least 10-20 images, and placing it in the context of historic and contemporary
art and art movements. Attendance by 501 students is mandatory. Juniors write a 1 pg. self-
assessment of your practicum show work and 1 pg. artist statement to hand in to instructor.
Clean up areas, remove supplies, and return any borrowed equipment and/or tools.

Maeve Jackson
Focal Point
2019
8" x 11"
image transfer painting