ART105: Intro to Visual Art & Culture

Spring 2015
Professor Garrick Imatani
Email: garrick@lclark.edu
Office: Fields Center 205.B
Office Hours: Tuesday & Thursday 1-2pm or by appointment
Course Description
This course provides hands-on exposure to the working methods of contemporary visual artists from an
interdisciplinary perspective.
The course is split between seminar and studio-based work. In the seminar, students are introduced to
key concepts of late twentieth-century art history and art production through readings, lectures,
screenings, and field trips. Assignments include writing, group discussion preparation, and presentations.
The aim of seminar work is to provide a theoretical and historical framework to better understand the
methods of todays working artists. Students will also learn key design terms and vocabulary used by
artists across disciplines.
In the studio, students are given the chance to apply their knowledge and experiences from the seminar
into short studio-based exercises and longer projects. Projects are typically introduced through
demonstrations or workshops intended to familiarize students with technical processes and provide
room for material experimentation. Completed studio assignments will be formally presented in a group
format that includes critical dialog and feedback. The aim of studio work is to provide an opportunity for
students to explore art as a form of visual communication and cultural expression that rewards reflective
and imaginative thinking.
Course Goals and Learning Outcomes
The primary goals of this class are to:
build a common formal and conceptual vocabulary about art and design that is shared by other artists
introduce concepts and theories of visual culture
build skills in the visualization, composition, and production of work in 2-dimensional, 3-dimensional,
and time-based media
develop skills in the critical looking at, talking about, and writing on artworks
expose students to a range of techniques, working methods, and materials that can be used toward
the creation of expressive works of art
By the end of this course, you should be able to:
articulate various issues and theories addressed by contemporary artists
describe and identify key elements and principles of design
design, plan, and execute artworks in 2-dimensional, 3-dimensional and time-based media
analyze and discuss the effectiveness of artworks in terms of craft, content, and concept from an
introductory perspective
Course Rationale
Art is always a reflection of the times and culture in which it is produced. Knowing the complex range of
theories and dialogues at play within contemporary art is particularly challenging to the young artist,
because they are as vast and varied as contemporary culture itself. There is no shortage of works that
challenge and question traditional notions of authorship, craft, and creativity that seem fundamental to
the most common and historic understanding of what it means to make and view artwork. Therefore, a
primary goal of this foundation-level course is to establish a common working language - a visual,
technical, and theoretical grammar that will hopefully allow students to better communicate the
concerns and goals within their own work as well as their perceptions about the work of both peers and
professional artists. Through exposure to a range of materials, techniques, and creative work processes,
this course aims to bridge key historic training methods with contemporary strategies so that students

are introduced to the richness and diversity of the discipline as it currently exists. By doing so, students
will be better equipped to make, appreciate, and locate artworks within broader cultural dialogs and
connective disciplines.
Course Structure & Expectations
Students can expect to learn basic design concepts, vocabulary, and visualization skills useful for
making any 2-dimensional, 3-dimensional, or time-based work. In addition to learning familiarity with
select materials and technical processes, students will be exposed to historical and theoretical models
about media, art, and culture through assigned readings and research, lectures, and off-campus trips.
Students will create artworks both individually and through collaborative assignments. Part of this
course focuses on developing basic eye, hand, and body coordination; therefore, students should
expect to practice skill-building exercises in class and through preparatory assignments for larger
projects. Students will be expected to apply newly acquired technical skills from workshops and
preparatory assignments into more open-ended, independent projects that promote creative problem
solving, critical thinking, and personal expression.
This course meets twice a week for 2-1/2 hours with a short break in the middle. Attendance is
imperative, along with taking notes on technical demos and slide lectures, and staying active for the
duration of class. As a studio-based course, demand for one-on-one assistance is high and I cannot
repeat assignment instructions or technical demos. Classes and assignments are paced with the
expectation that you will show up on time, ready to work with the right tools and materials, and have the
assigned prep work (drawings, research, writing, etc.) complete.
The studio environment can be loud and active so please be vocal if you do not have a clear
understanding of what is expected by the following class. Youre encouraged to visit me during office
hours if you have questions. Youre also welcome to email me. I will make every effort to respond
promptly via email; however, my schedule does not always allow a response before the following class.
Updates or demonstrations often immediately follow the break. Bear in mind that you will be responsible
for any missed announcements or instructions due to tardiness or absence (at the start, middle or end of
class), therefore, make sure you have the contact info of at least one other student you can call and/or
email.
You will be required to keep a sketchbook that records your lecture notes, project ideas, and research.
The sketchbook will be reviewed in class, particularly at the start of new projects, and its contents will be
due at the end of the semester as part of your course grade in the form of digital portfolio. You may not
always produce the results you want with your projects, therefore, the sketchbook becomes an
important document and serves as a more complete record of the amount of work youve put into a
project and the class in general.
As this course aims to expose you to contemporary art practice and strategies, you will be expected to
attend select visiting artist/critic talks on campus, as well as current exhibitions and events off-campus. I
fully understand the importance of other commitments such as work and athletics, however, this is an
absolutely critical part of the course that will need your full commitment. Unless otherwise noted, we will
discuss lectures the following day in class and short write-ups typically accompany these events.
Most projects will be introduced through slide lectures and reading assignments in order to ground
historical and practical/logistical considerations, as well as to spur conceptualization. Assigned readings
are discussed the class after they are distributed (unless otherwise noted). Typed, double-spaced, 12 pt.
font, written responses between 1-2 pages are typically required and should be turned in after
classroom discussion. Late submissions are not accepted for written assignments unless one is absent,
in which case responses are due by the following class.

Students will have projects formally reviewed and discussed by the entire class. Projects are due on the
listed day of critique. Late submissions will result in a full grade drop for each day late. Attendance for
the full duration of critique days is critical to your success in this class whether you are presenting or not.
You will be expected to hold on to all of your work in this class, document it, and present your
documentation in the form of a final digital portfolio at the conclusion of the course. In-class
exercises such as drawings and models are considered preparatory assignments for larger projects and
should be saved for your final graded portfolio review unless otherwise stated by the instructor. If you
are uncertain, ask me before throwing something out. If you need to clear space after a critique, we can
discuss proper documentation or storage options.
No Cell Phones or Texting. No Instant Messaging. No Social Networking.
No Laptops (unless necessary for work). No exceptions!
Assessment
In order to succeed in this class, you must attend, be prepared, participate (especially critiques),
challenge yourself, and complete all the projects. You must do all of these things to pass the course. In
order to get an A for the course, you must demonstrate excellence in all of these categories
throughout the entire semester as suggested by the rubric below:
Example of an A student:
Attends each class on time and ready to work with any required materials or supplies in hand, and with
any required reading, research, sketches, or writing completed to an excellent degree.
Actively participates in group discussion and critiques, asks considered questions and provides
thoughtful comments relevant to course material to an excellent degree.
Pushes him/herself to make work that exhibits ambition in scale, conceptualization, and personal risktaking to an exceptional degree.
Respects peers by being thoughtful in dialog and in their workspace use and clean up, actively
participates in engaged critique of others work, and promotes a positive attitude.
Shows exceptional effort in studio-based assignments and projects by the amount of time and energy
evidenced by their preparation (sketch book with sketches, research, printouts, etc.), execution,
presentation, and final portfolio.
B: Strong attendance and preparedness, all writing assignments and studio-based work completed with
solid effort, solid and consistent prep work and research evident in sketchbook and portfolio, good
participation in seminar discussion and studio critiques, above average ambition and risk taking in
projects. This student is an overall solid performer, but does not demonstrate excellent commitment or
shows flashes of excellence and average performance in equal measures.
C: Solid attendance, all writing assignments and studio projects completed but with inconsistency,
participation and prep work via sketchbook and class discussion demonstrate a lack of serious
commitment. This student may demonstrate solid performance but is inconsistent, lacks consistent rigor
in thinking and effort on written assignments and conceptual prompts, may occasionally exhibit below
average participation or daily performance.
D: Average attendance, all studio projects completed but one or more written assignments incomplete
or missing, inconsistent effort, below average participation and project consideration as evidenced by
sketchbook and portfolio of work. This student is under performing to ability and often hurt by
attendance issues and/or lack of interest.
F: Failure to do meet the standards above.

* If you are ever unsure about your course standing or grading criteria, it is your responsibility as a
student to meet with me and discuss the matter outside of class contact hours during office hours or by
appointment.
Attendance
Attendance is critical to succeed in this course. Role is taken at the beginning of each class. Unexcused
late arrivals at the start of class or directly after breaks also negatively affects your grade.
In addition to screenings, lectures, and special events, this course contains studio-based
demonstrations and workshops, therefore, your daily participation is especially important. Due to the
pace and constraints of time management for a full classroom, I cannot go over missed information due
to tardiness or an absence.
Special events or visiting artist lectures cannot be repeated nor substituted for other events.
The campus health center does not issue medical notes; therefore, you are allowed 2 absences to use at
your discretion in the course before your grade is affected. Use these 2 days wisely. Any illness or
situation that results in your absence for two consecutive classes requires immediate notification to the
instructor. In all cases, you are responsible for catching up with the class you miss. Please exchange
contact info with at least one classmate in order to stay informed.
Absence Policy
2 absences = no penalty
3 absences = final grade dropped 5% points (e.g., 90% becomes 85% or A- to B)
4 or more absences = final grade dropped 10% points (e.g., 85% becomes 75% or C to B) each
absence
6 or more absences = Failure
2 unexcused late arrivals = no penalty
3 or more unexcused late arrivals or early departures = 1/2 absence each time thereafter
Grading Rubric
Seminar: Reading Prep, Writing Assignments, Discussion Questions, Assigned Research & Presentations = 25%
Studio: In-class Exercises & Assignments for Larger Projects =15%
2D Project =10%
3D Project =10%
4D Project = 15%
Participation: Daily Preparedness, Process Book Meetings, Discussion & Contribution = 10%
Final Digital Portfolio PDF: Documentation of Studio Process, Assignments and Projects = 5%
Course Content
Some of the artwork shown in slide shows may include explicit material and deal with mature subject matter.
All works shown exists in a historical context or deals with contemporary issues and practice, and relates to
course objectives. If you would like to discuss the material before we view the work in class please do not
hesitate to email me or come by during office hours.
Statement on Academic Integrity
Plagiarism is the act of presenting another persons ideas, research or writings as your own. The
following are some examples of plagiarism, but by no means is it an exhaustive list:
1. Copying another persons actual words without the use of quotation marks and footnotes attributing
the words to their source.
2. Presenting another persons ideas or theories in your own words without acknowledging the source.
3. Using information that is not common knowledge without acknowledging the source.
4. Failing to acknowledge collaborators on homework and laboratory assignments.
5. Internet plagiarism includes submitting downloaded term papers or parts of term papers,

paraphrasing or copying information from the internet without citing the source, and cutting and pasting
from various sources without proper attribution.
Course Schedule
It is your responsibility to check the course site regularly before each class and following classes for any
revisions to schedule as it is subject to change: art105spr15.tumblr.com; password: art105isalive
Materials
Materials are required to successfully complete exercises and assignments for this class. Highlighted
materials should be purchased immediately. Remaining materials should be purchased before Week 3.
Recommended materials are ones that most students use consistently throughout the term and that the
Studio Core makes available to all students on a first-come, first-serve basis for in-class use or check
out. Optional materials are not necessary to complete assignments, but some students find them helpful
to aid in their design. Most materials are available through the bookstore and all materials are available
at Dick Blick in downtown Portland.
There is a materials fee of $20 for the course to cover costs of the museum pass and other incidentals
payable to Alison Walcott, Admin. Coordinator for the Art Dept
Materials List
lock for locker
work clothes and/or apron
water container
printing fees for readings
Cutting
standard X-acto knife (#11) - $2.50
scissors (good quality) - $13.50
Olfa Snap-Off Blade Knife - $6
* recommended: self-healing cutting mat (at least 18 x 24 inches) prices vary
* recommended: metal straightedge (at least 18 inches) - $7
Markmaking
white charcoal pencil - $1
2 pencils (one graphite, one charcoal- medium to hard) - $3
erasers: kneaded, mars white - $1
black technical pen (.25-.5 size, disposable is fine) - $2.25
3-pack of charcoal sticks - $1.50
* optional: 6 compass - $6.25
* optional: 6 protractor - $2
Painting
basic set of brushes (varying set of sizes of flat and round, including sizes 0 and 1 for detailed work) $13
Papers & boards
9 x 12 sketchbook - $8
cardboard - $3/sheet payable to Alison
Adhesives
acid-free glue stick - $1
glue gun (make sure to get a standard or heavy duty size, no minis) - $10

 50 pack of 4 glue sticks - $5

Storage
flash drive (available at bookstore, 4GB - $10)
* tackle box - $8
Free shuttle schedule:
http://www.lclark.edu/offices/transportation_and_parking/shuttle/
Store Locations, Hours & Contact Info:
Dick Blick 1115 NW Glisan, 97209; Tel: 503-223-3724; Hours: M-Sat 9-8, Sun 11-6; www.dickblick.com
*All required materials are available at Dick Blick - bring school ID for discount and be on look out for
coupons at start of the semester.
Fred Meyer - 7555 SW Barbur Blvd., 97219; Tel: 503-452-3000; Hours: 7-11 everyday
A-Boy Supply - 7365 SW Barbur Blvd., 97219; Tel: 503-245-0714; Hours: Mon-Sat 8-7, Sun 9-6