- WHAT: MUSEUM FIELD TRIP TO: The Glassbox Gallery
- WHEN: WEDNESDAY, NOVEMBER 20 from 9:30-10:45
- WHERE: Arts 1326
Monday, November 18, 2024
ART 1A GLASSBOX GALLERY FIELD TRIP ON WEDNESDAY, NOVEMBER 20
Saturday, November 16, 2024
Art in the Age of the Internet
The firsthand experience of viewing is often mediated by the digital apparatus (your phone or camera), and the intention is to post it to mark that you were there, but also for it to be seen and experienced by your followers.
Therefore, while you are there in person experiencing the original works of art, you may be looking at them largely through the lens of your camera or the screen of your phone. Think about the ramifications of the theories posited by Walter Benjamin in "The Work of Art in the Age of Mechanical Reproduction."
Video above: Art in the Age if the Instagram featuring Jia Jia Fei.
Art in the Age of Internet (26m 46s. The first segment deals with Art in the Age of the Internet):
Amalia Ulman. Excellencies & Perfections #2 (2018)
Some artists create works of art that intentionally reference the internet and social media, and often the system of surveillance that they embody. These types of social critique are often intended to make us aware of our complicity in these very systems, and are often meant to leave us uncomfortable about our role in this system.
What one posts online can embody ideas about the way that we see ourselves, or the way that we want to be seen, and about the way in which we create these constructed mediations.
These idealized and mediated expressions of self are created to be consumed online, and are often fictionalized accounts of the “reality” that the spectator is meant to understand as “real”– but they are often actually more irreal than they are real.
They also serve as raw source material for artists who use these types of mediated images to engage in a larger cultural critique.
Amalia Ulman (shown above) is an artist who created a body of work where she pretended to be an Instagram influencer, and her online performance helps underscore and contextualize the way in which the epoch of social media sharing and over-sharing has become a normalized way to consume online content. It also points out the extent to which Instagram feeds should be understood as fictionalized accounts of "reality."
What one posts online can embody ideas about the way that we see ourselves, or the way that we want to be seen, and about the way in which we create these constructed mediations.
These idealized and mediated expressions of self are created to be consumed online, and are often fictionalized accounts of the “reality” that the spectator is meant to understand as “real”– but they are often actually more irreal than they are real.
They also serve as raw source material for artists who use these types of mediated images to engage in a larger cultural critique.
Amalia Ulman (shown above) is an artist who created a body of work where she pretended to be an Instagram influencer, and her online performance helps underscore and contextualize the way in which the epoch of social media sharing and over-sharing has become a normalized way to consume online content. It also points out the extent to which Instagram feeds should be understood as fictionalized accounts of "reality."
See Also:
The Art History of the Selfie (8m):
Rafael Lozano-Hemmer. Surface Tension. 1992 (Installation)
Some artists, such as Rafael Lozano-Hemmer, deal with the exploration of the systems of surveillance, and our complicity in those systems when we surf the internet.
Surface Tension "is an interactive installation where an image of a giant human eye follows the observer with Orwellian precision.This work was inspired by a reading of Georges Bataille's text The Solar Anus during the first Gulf War: first wide-spread deployment of camera-guided 'intelligent bombs'. Present-day computerised surveillance techniques employed by the Department of Homeland Security in the United States through the Patriot Act, provide a new and distressing backdrop for this piece."
See Surface Tension videos HERE.
WEEK 8: Art in the Age of Internet (reading assignments for this week)
• Jeff Scheible: Longing to Connect: Cinema’s Year of OS Romance
• Katrina Sluis, Julian Stallabrass and Christiane Paul. The Canon After the Internet
• Lauren Cornell. Self-Portraiture in the First-Person Age
• Gloria Sutton. CTRL ALT DELETE: The Problematics of Post-Internet Art
• Jeffrey De Blois. Hybrid Bodies
• Susan Magsamen and Ivy Moss. Your Brain on Art (Chapter 7)
Saturday, November 2, 2024
UCSB AD&A Museum Field Trip to POOCH: The Art Full Life of Keith Julius Puccinelli Exhibition on Wednesday, November 13 at 9:30AM
WHAT: MUSEUM FIELD TRIP TO POOCH: The Art Full Life of Keith Julius Puccinelli
WHEN: WEDNESDAY, NOVEMBER 13 from 9:30-10:45 AM
WHERE: UCSB AD&A MUSEUM
Please arrive on time, and bring your research papers since they are due at the beginning of class. The museum is adjacent to the University Center and Storke Plaza/Tower.
I have scheduled a private tour of the museum for our class. The museum, is normally closed at this time, and they are staffing it so that our class can enjoy the exhibition alone.
About this exhibition:
This exhibition features the work of graphic designer and fine artist Keith Puccinelli, AKA Pooch, alongside selections of work from the folk and contemporary art collection he and his wife, Frances Garvin Puccinelli, built over their 33-artful-years together. Pooch was a long-time Santa Barbara resident who began his artistic career as an award-wining graphic designer with his studio Puccinelli Design (1983-1996). In 1998, after surviving cancer and at the urging of his wife, he began working full-time as a fine artist and became an active and recognized contributor to the Southern California art scene. This exhibition investigates how humor, tragedy, and wit animated Puccinelli’s art and design. Furthermore, the exhibition situates Puccinelli’s career within the constellation of his local and regional contemporaries including Dane Goodman, Hugh Margerum, Hilary Brace, Joan Tanner, Richard Ross, Lily Guild as well as artists like Claes Oldenberg, Philip Guston, Annie Toliver, Wayne Thiebaud, Chip Kidd and many others who influenced his practice more broadly. POOCH celebrates the extraordinary gift of more than 600 original works of art and the full artist's archive including design and documentary materials.
Keith Julius Puccinelli (b. United States, 1950-2017) received his Bachelor of Fine Art from San Jose State University in 1973. As a fine artist and self-taught graphic designer, he founded Puccinelli Design in 1983 in downtown Santa Barbara and ran a successful studio until 1995 when he closed the business to pursue other creative interests. For more than 40 years, Pooch has exhibited artworks in numerous solo and group exhibitions at galleries, museums, and contemporary art spaces. His work is included in private and public collections such as the Los Angeles County Museum of Art, Santa Barbara Museum of Art, Westmont Ridley-Tree Museum of Art, Wilding Museum of Art & Nature, Weatherspoon Museum of Art, and the Art, Design & Architecture Museum.
The exhibition includes drawings, sculptures, sketches, and designs by Keith Puccinelli alongside artworks and objects by:
Todd Anderson, Sandow Birk, Jeff Brouws, Ginny Brush, Wendy Burton, Hilary Brace, Nell Campbell, Robbie Conal, Bob DeBris, Ann Diener, Linda Ekstrom, David Gilhooly, Howard Finster, Julia Ford, Colin Fraser Gray, Rollin Fortier, Marlin Garien, Dane Goodman, Penelope Gottlieb, Lily Guild, Philip Guston, Nathan Hayden, Mary Heebner, the Huichol people, Patricia Hedrick, Neal Izumi, James Harold Jennings, Susan Jørgensen, Philip Koplin, Dan LeVin, Holly Mackay, Hugh Margerum, Penny Mast McCall, Wayne McCall, Virginia McCracken, Barbara Parmet, Jens Pedersen, Rafael Perea de la Cabada, Gail Pine, Fran Puccinelli, Harry Reese & Sandra Liddell Reese, Richard Ross, Alison Saar, Marie Schoeff, Judith Scott, Tom Stanley, Nicole Strasburg, Joan Tanner, Masami Teraoka, Wayne Thiebaud, Susan Tibbles, Richard Tullis, Dug Uyesaka, Beatrice Wood, Seyburn Zorthian
POOCH: The Art Full Life of Keith Julius Puccinelli is organized by the Art, Design & Architecture Museum and is curated by Meg Linton. The exhibition is made possible thanks to the generous support of the Keith and Frances Puccinelli Trust.
EXTRA ART 1A ASSIGNMENTS TO CLEAR UNEXCUSED ABSENCES
If you have missed a lot of classes, with unexcused absences throughout the quarter, then you should do these assignments to clear them. As you know, 5 or more unexcused absences will result in failing the class. However, if you had emergencies, and can provide me with a note from your doctor, from Student Health, or from your CAPS, DSP, CARE Counselor (for the specific dates in question)– then those absences will be excused. These are not extra credit assignments to improve your grade. These papers are due no later than Friday, December 6th by 1:00 PM. Submit them to your TA.
Please note: If you did not go on the museum field trips, or the alternate museum field trip, then you have 2 unexcused absences for each of the trips, and you will also be missing the graded weekly assignment those weeks.
To clear unexcused absences: Watch the recorded Arts Colloquium Artist Talks found below, and write a 2-page Artist Talk response. Each talk and written assignment clears a single absence. Therefore, if you need to clear more than one absence you will need to do more than one of these assignments.
You may submit up to 3 assignments total:
1) Tia-Simone Gardner: Recorded Talk
2) Nicholas Galanin: Recorded Talk
3) Alisha Wormsley: Recorded Talk
Sunday, October 27, 2024
Thursday, October 10, 2024
Mechanics of a Formal Research Paper & Scholarly Research Training Workshops
Mechanics of a Formal Research Workshop: Monday, October 21 at 9:30 in lecture.
Scholarly Research Training Workshop: Wednesday, October 23 at 9:30 in lecture with Heather Nisen.
Heather Nisen (Art & Architecture Librarian):
hnisen@ucsb.edu
http://guides.library.ucsb.edu/art1a
hnisen@ucsb.edu
http://guides.library.ucsb.edu/art1a
(805) 893-3026
Here is the link to the plagiarism tutorial that the Teaching & Learning Department created:
Paper Format (PAPER TOPIC HERE):
- 9-10 pages of text (this does NOT include the cover page, bibliography or images)
- Double-spaced
- Cover page
- Footnotes or endnotes
- Bibliography
- Images (in a separate document at the end of the paper)
- Use at least 10 different research sources (including peer reviewed
journal articles, books, exhibition catalogs, monographs, etc.)
- Use at least 10-15 citations
QUESTIONS TO ASK YOURSELF WHEN WRITING & EDITING YOUR PAPER:
1) Do I have the proper number of citations and sources?
2) Did I properly format my citations using MLA or Chicago?
3) Do I have a properly formatted formal bibliography?
4) Did I adhere to the proper paper length?
5) Do I have a clear, and specific thesis statement?
6) Does my thesis statement specifically relate to the final draft of my paper?
7) Did I run spell check (repeatedly)?
8) Did I carefully edit to make sure that I used proper grammar, and were my tenses consistent?
9) Did I formulate clear arguments and substantiate all of my claims with clear and concrete examples?
10) Did I avoid sweeping generalizations and vague assertions?
11) Did I use casual colloquial language in my formal research paper? If so, find more precise ways to describe the point being made.
12) Did I use scholarly research sources such as peer-reviewed journal articles, scholarly articles and books rather than sources such as blogs, Wikipedia, encyclopedias etc (that are not acceptable sources for a formal research paper).
13) Did I properly cite quotes and summaries of other people's intellectual property (footnotes and in-text citations)?
14) Did I avoid excessive biographical information about the artist? Instead I should only include biographical information that is directly relevant to their artistic practice.
15) Would anyone reading my paper understand what I am trying to convey, or do I need to more clearly define the scope of my research and ultimately the point of my paper?
16) Did I place the pictures at the end of my paper? If I embedded them in the text, I need to remove them and place them at the end of my paper.
17) Did I remember to put my name, perm number and section time on my paper?
18) Did I remember to frequently save, backup and email drafts of my paper to myself (just in case my computer crashes)?
19) When I had questions, or needed help, did I reach out to my TA, professor or CLAS?
GENERAL TIPS ON WRITING YOUR PAPER:
1) The selection of a good thesis and supporting examples is an important part of producing a good paper. Be selective. The paper is about how to look closely at works of art and how your evaluation of objects and images is expanded by the specific context in which they are presented.
2) Write primarily with nouns and verbs. Avoid unnecessary (especially vague and imprecise) adjectives and adverbs.
3) Revise and rewrite. Proofread your work. Do not rely solely on "spell check."
4) Use the dictionary to refer to words you do not fully understand.
5) Do not overstate, or excessively use qualifiers (such as very, rather, little, etc.).
6) Use orthodox diction and accurate spelling. ("Its" is possessive; "It's" is a contraction for "it is," "Its' " doesn't exist. "Their" is possessive, "They're" is a contraction of "they are," There is declarative).
7) Be clear. Make references clearly. (Do not use the word "this" as the subject of a sentence).
8) Do not let your opinions get in the way of your writing.
9) Avoid using Wikipedia, blogs, newspaper articles and other materials that are not scholarly. These ARE NOT research materials for a formal research paper.
10) Get to the point quickly. Concentrate on quality of writing not quantity of words.
11) For help with formatting MLA and Chicago citations, visit Purdue Owl: https://owl.purdue.edu/owl/purdue_owl.html
For help writing the paper contact CLAS at 893-3269. They have a writing lab that will help you with papers, and will even proofread your papers. They also offer help specifically to students for whom English is a second language. CLAS site: http://www.clas.sa.ucsb.edu/
Wednesday, August 7, 2024
Welcome to Art 1A Fall 2024
Hello everyone,
Welcome to Art 1A: Visual Literacy! I wanted to reach out to let you know that everything that you need to know about Art 1A will be posted here on the Art 1A website, not on Canvas, but your Teaching Assistants may opt to use Canvas. Please read everything carefully, I will go over this information in class when we meet, and I will answer any questions that you may have.Art 1A lectures and sections will be taught in-person. However, the first lecture, on Monday, September 30 will be taught via Zoom. Zoom link: https://ucsb.zoom.us/j/83111992304
You do not need a pass code to join the Zoom meeting, sign in as an attendee.
If you have time conflicts with work, or with other classes, then you should take Art 1A another quarter. There are also two Los Angeles museum field trips that are an important part of the class. We are offering an alternative museum field trip in Santa Barbara for one of the field trips, if you can't get to Los Angeles twice. Please make sure that you are available on Saturday, October 19 and Saturday, November 9. These two museum field trips are in lieu of the lectures those weeks, but sections are still scheduled. Students are responsible for their own transportation to the Los Angeles and Santa Barbara museums. Neither UCSB, nor the UCSB Department of Art will furnish transportation, or organize it. However, students tend to organize their own carpools each quarter.
Please purchase your course reader and book as soon as possible because you will have written assignments due the first week of class. The course reader is on reserve at the library, and the book is on reserve every single quarter.
Please fill out the Art 1A Questionnaire (HERE), and return it to me and your TA ASAP. This will help us get to know you, and it will also let us know whether you are having any technology issues. You can find our contact information HERE.
2) John Berger's Ways of Seeing is available from the Campus Bookstore and Amazon (Click HERE).
3) Susan Magsamen and Ivy Ross, Your Brain on Art: How the Arts Transform Us. Free copy given to you after you sign all 3 museum field trip liability waivers.
Please fill out the Art 1A Questionnaire (HERE), and return it to me and your TA ASAP. This will help us get to know you, and it will also let us know whether you are having any technology issues. You can find our contact information HERE.
Course Reader (cover pictured above) and book information (please have them in your possession before class meets for the first time). The course reader is on reserve at the library.
1) The Course Reader (cover shown above) is only available from Associated Students. You can purchase a physical copy (HERE). You may also purchase an e-Reader HERE, (the eReader costs $29.60) but be aware that it will take 24-48 hours to process your order.
Weekly assignments are due the first week of class, and if you don't have your course reader you can use the Reserve Copy at the Library so that you do your first assignment on time. The physical copy will be available for purchase at the Associated Student Ticket Office. Location Information and Hours HERE.
4) The Course Syllabus can be found HERE.
6) Information about Lectures and Sections can be found HERE.
7) The Research Paper prompt can be found HERE.
8) The UCSB Library Art 1A Research Page can be found HERE.
9) The UCSB Campus Learning Assistance Services (CLAS) can be found HERE.
10) View the UCSB policy about Academic Integrity and Academic Dishonesty (cheating, plagiarism, furnishing false information, unauthorized collaboration and misuse of course materials) HERE.
11) Fill out the museum liability waivers: All trips require Liability Waivers: and they will be linked to here, once they are available. Fill out all three of the liability waivers (HERE). Simply sign and date them.
12) Information about the Department of Art can be found HERE.
13) The UCSB Diversity Statement can be found HERE and the University of California Diversity Statement can be found HERE.
14) The UCSB Counseling and Psychological Services (CAPS) contact information can be found HERE.
15) The UCSB Health and Wellness website can be found HERE.
16) UCSB Department of Art Intellectual Challenge Policy: "Intellectual challenge and academic rigor are among the foundations of our program. Our faculty foster communities of inquiry and free speech based in self-awareness, individual responsibility, and an informed world view. We encourage divergent opinion and cogent argument, believing lively debate, exposure to differing viewpoints, and a certain level of discomfort are essential to intellectual and artistic growth.
In our classes, students will be shown work and introduced to theories and practices that may challenge their beliefs and assumptions. Students are expected to think critically rather than react impulsively; to consider opposing viewpoints and others’ opinions and experiences with openness and thoughtfulness; and to engage in a manner befitting themselves as artists and scholars in this university, an institution of higher learning."
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