Thursday, October 6, 2016

Branding YOU!

Branding YOU!
IS your identity on paper / virtually /  on your website / on all of your take away.  This brand will be developed with your imagined and designed image should remain consistent throughout all of your take aways.

 Visually it should give some indication of what type of work you may do.

It should be your own design and not a template.
You are creators after all!

The post cards, posters or brochures you publish for your exhibition need to include:
Name of your Exhibition
Your full name
Date of Exhibition with year
Date of Reception
Gallery hours (check CAZnet for info)

The Art Gallery in Reisman Hall
Cazenovia College
6 Sullivan Street
Cazenovia, NY 13035

The gallery is located on the corner of Sullivan and Seminary streets in the village of
Cazenovia, NY

Image details:: title of work, date, medium
Website address // email address


Exhibition Catalogues need to include ::
Front page >
Name of your Exhibition in italics/quotes/large font
Your full name
Date of Exhibition with year
Date of Reception

The Art Gallery in Reisman Hall
Cazenovia College
6 Sullivan Street
Cazenovia, NY 13035

Your business cards need to include ::
Your image
Your name



Website // email // 
(cell & address optional)
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Previous Student Exhibition published catalogues

LINKS:

SA499 SPRING 2016
Capstone Research & Thesis Exhibition catalogues

on BLURB >


Michael Gill > http://www.blurb.com/b/7061572-a-necessary-conversation 



Mary Turk > http://www.blurb.com/b/7076688-makers



Victoria Viney + Sarah Clark > on SnapFish.com
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Center for Teaching & Learning


from the Cazenovia College website...

The Center for Teaching and Learning is a unique facility staffed with both professional educators and students (peer tutors) who provide service to all students who need extra help in their college work. 

It is not unusual for students to need assistance in maximizing their educational growth in a variety of areas during their four years at the college. The Center for Teaching & Learning assists students in these efforts.  Make an appointment well in advance (1.5 weeks) at the Center to assist you in the writing process.  The Center should be used throughout your career at the college to help you in the refinement and organization of your writing examples. 315.655.7296
           
Cazenovia College students are expected to succeed in a challenging intellectual environment. 
It is not unusual for a student to need help in gaining and maintaining an adequate level of academic excellence. 
Recognizing this, the Center for Teaching and Learning at Cazenovia College is designed to provide students with opportunities to maximize their academic potential.

To achieve this goal, the Center for Teaching and Learning offers several alternatives to assist in learning such as one-on-one or small-group tutoring; assistance in developing strategic learning skills; and techniques designed to improve writing, reading and mathematics proficiency.

The accessible location on the campus (next door to the library) and the Center’s convenient hours are designed to meet the needs of students.  Students may meet with a Professional Tutor for in-depth help with specific courses, or they may see a Peer Tutor. The professional staff of the Center for Teaching and Learning offers study skills assistance, workshops on a variety of subjects, and academic counseling.

Location: 41 Lincklaen Street
Hours: Monday – Thursday, 8 a.m. – 7:30 p.m.
Friday, 8 a.m. – 4:30 p.m.
Contact: Dr. Jesse Lott, Director, 315-655-7161


Please complete the following and attach to your paper prior to submitting for grading.

I, ________________________________________ have met with


________________________________________ (print), a Professional Tutor at the Center for Teaching and Learning 

on the date of : _________________________________.


Professional Tutor’s signature _____________________________________________________________



Date : 
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Sunday, September 11, 2016

Senior Capstone Committee Member CONTRACT

SA 498.01 Senior Capstone Research & Thesis 
FALL 2016
Jen Pepper . Faculty Advisor 
CAZENOVIA COLLEGE 
Serving as a Committee Member on a Senior Capstone Project

Dear Senior Photo & Studio Arts Committee Members & Professional Contact,
I want to take this time to thank each of you for meeting independently with the studio arts and photograph group of Seniors this Fall term. Your input on both their creative practice and the reading of their Capstone research papers is valued and essential to their successful development in this exciting year long project. 
In the spring, you will again have the opportunity to meet twice, if you are serving as the student’s Faculty Committee member, and once (minimum), as their Professional Contact.  Each meeting will provide the student the opportunity of getting individualized feed back about their creative project as well as their progress on the Capstone research paper. 
You can meet with the student in person which is obviously ideal, or virtually; via Skype, FaceTime, etc., or the student may send you jpgs of their most recent studio practice. You may have a combination of these different forms of delivery throughout the spring term as well. 
As the students Capstone Committee Member you agree to read the student's capstone as it develops throughout the Fall term. Please provide the student with your written comments on content, development, organization, etc. on each draft they submit to you. I am asking that you also sign off on this letter, thus agreeing to serving on the student’s committee. During the fall term you should have the opportunity to read at minimum TWO drafts, once prior to week 7 and the second, prior to week 13. 
In April the Senior Studio Art and Photography class will be defending their thesis research project amongst their BFA Thesis exhibition that you will personally attend. 
This is an excellent time for the student to orally defend their Capstone research papers alongside of their creative output, as well as a time to reflect on their college practice throughout their four years at Cazenovia.
I will need to know your comments of that terms progress. And the GRADE you believe the student should receive for their creative work and presentation of their oral defense.  
My thanks in advance. JEN PEPPER . Faculty Advisor SA498.01 
Please complete, sign and date and return to JEN PEPPER . Faculty Advisor for SA498.01 at Cazenovia College . FALL term 2016 
Additional comments: 



________________________________________________________________________
 Committee Member // Professional Contact please sign and > DATE 



_________________________________________________________________________ Student SA498.01 please sign >> print > DATE 

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Serving on a Student's Capstone Review Committee

FALL 2016
Serving as a Professional Contact

Friends and colleagues,
I want to thank you all so much again for agreeing to serve as a Faculty Committee Member or Professional Contact for our Seniors Capstone Research and Development Project this term and next.
Many of you have served in this capacity in previous years, so you know of the enormous impact you make on the Seniors' evolution throughout their final year at the college. Students should have contacted you or will do so this week.
Please keep me cc'd on your correspondences with them.

In short - 
You will see each student for 45 - 60 minutes regarding both the student's work and their research paper.
Some people like to conduct the critiques with both students at once, in order to have a depth full dialogue informative to both. This is fine, as is independent critiques.
From your feed back, the students hope to gain info on their direction regarding both their creative work and their research. 
Your critiques should respond to the work at hand. Each student should be bringing you both actual work and possibly digital images of work if its too cumbersome, i.e. installation, 3D, etc.
I have asked that each student prepare themselves before hand to organize their thoughts and questions they have for you in regards to their creative development and research.  I hope this will assist in the flow of the critique.
Each will have a journal with them or some sore of note taking tools during their critique. Relying on their memory and selective hearing, I have informed them, is NOT the way to conduct this invaluable time with you.
Please provide the students with other artists in the field, articles, etc. you believe would assist them in their progression.  
You may wish to inquiry about their future plans for their work -- how do you think the work will take shape and evolve? 
Questions regarding the scale and presentation of work, etc.
You may wish to speak about materials they should consider, provide material sources, etc.
Also you will be reading over their Capstone research papers and providing feed back, written directly on the working draft.
They should be giving you a copy of drafts that have already been vetted through the writing center with minor writing mechanical error / grammatical/and poor spelling. 
Should you make any grammatical corrections, please inform me!
Your feed back should be a response to their thesis statements - i.e. is there enough research / evidence grounding their arguments? Other recommendations of bibliographical sources, figures, you can provide would be also helpful to them.  

Each student will meet with their Faculty Committee Member at least twice during the semester. The student will set that up with you in the coming weeks.
I ask that Professional Contacts see the student and their work, as well as to comment on their research papers only once during the term.
The student may visit you at your studio, or a another location, or you may travel to meet with the student on campus.
The Professional Contact Committee member will be paid $90 / per student / per term, regardless if their visits are more frequent than the one.
Some Professional Contacts will be at a distance, however via Skype, FaceTime, and/or other digital imaging communicating program.

I hope this is helpful to you.  Please contact me should you have any questions or concerns with the students you are working with.

Please keep track of the dates / times and students you have worked with / as well if you traveled to the college and submit to me by Dec. 10th.

Thanks again to each of you!
I enjoy not only seeing you -- but am thrilled of what you bring to the table for our students!!

JEN PEPPER
Studio Art

Cazenovia College
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Thursday, September 8, 2016

analytical assessment rubric

Art & Design Analytical Research Papers 
using creative work examples Rubric    

Analytical Assessment valued in the 5 qualitative areas below:
#1 Analysis of the creative work
Grade A (student is excelling standards)
B (student is meeting standards)
C (student is approaching standards) 
D (student is not meeting standards)
A. Student accurately describes several dominant elements or principles used by the artist/designer and accurately relates how they are used by the creator to reinforce the theme, meaning, mood, or feeling of the creative work.
B. Student accurately describes minimum of three dominant elements and principles used by the artist / designer and accurately relates how these are used by the artist to reinforce the theme, meaning, mood, or feeling of the creative work.
C. Student describes some dominant elements and principles used by the artist, but has difficulty describing how these relate to the meaning or feeling of the artwork.
D. Student has trouble picking out the dominant elements.

#2 Interpretation of the creative work
Grade A (student is excelling standards)
B (student is meeting standards)
C (student is approaching standards) 
D (student is not meeting standards)
A. Student forms a somewhat reasonable hypothesis about the symbolic or metaphorical meaning of the creative work and is able to support this with evidence from the work.
B. Student has the ability to identify the literal meaning of the work.
C. Student can relate how the work emotionally charges feelings in viewers
D. Student finds it difficult to interpret the meaning of the work.

#3 Description of the creative work
Grade A (student is excelling standards)
B (student is meeting standards)
C (student is approaching standards) 
D (student is not meeting standards)
A. Student makes a complete and detailed description of the subject matter and/or elements exhibited in the creative work.
B. Student makes a detailed description of most of the subject matter and/or elements seen in a work.
C. Student makes a detailed description of some of the subject matter and/or elements seen in a work.
D. Student provides descriptions that are not detailed nor complete.

#4 Evaluation of the creative work
Grade A (student is excelling standards)
B (student is meeting standards)
C (student is approaching standards) 
D (student is not meeting standards)
A. Student has the ability to use multiple criteria to judge the artwork, such as composition, expression, creativity, design, communication of ideas.
B. Student uses at least 2 or 3 criteria to judge the artwork.
C. Student attempts to use aesthetic criteria to judge artwork, but does not apply the criteria accurately.
D. Student only evaluates the work as good or bad based on personal taste.

#5 Mechanics of Writing
Student is A = EXCELLING or B = MEETING or C = APPROACHING or D = NOT MEETING in the following areas:
Student makes use of at least three credible sources (no Wikipedia!)
Student makes use of APA or MLA writing format and includes a properly cited bibliography
Student includes visual illustrations to support essay’s content
Student completes an essay that illustrates the clarity of the main point, its development or argument, seamlessly
The completed essay is well organized in its construction and writing style
The completed essay exhibits technical control in the mechanics of writing and grammar
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Monday, September 5, 2016

bibliography, fyi

possible texts of interest

Of interest to those interested in visual culture go to:









The Medium is the Massage. An Inventory of Effects 
by cultural theorist, Marshall McLuhan and visual designer, Quentin Fiore


Camera Lucida: Reflections of Photography 
by Roland Barthes, post structuralist philosophy + cultural theorist 
Free PDF available
Above, an illustration of the 1807 Camera Lucida as a drawing tool invented by Sir William Hyde Wollaston, bringing life drawing to a whole new level.

 Synopsis: The Guggenheim's classic study of photo-based artworks that question gender identity is back in print at last. This important volume, whose title combines Gertrude Stein's famous motto, "Rose is a rose is a rose is a rose," with the name of Marcel Duchamp's feminine alter ego, Rrose Selavy, features portraits, self-portraits and photomontages in which the gender of the subject is highlighted through performance for the camera or through technical manipulation of the image. In many of the works, photography's strong aura of realism and objectivity promotes a fantasy of total gender transformation. In other pieces, the photographic representation articulates an incongruity between the posing body and its assumed costume. Features work by Cecil Beaton, Brassa‘, Claude Cahun, Marcel Duchamp, Hannah Hàch, Man Ray, Janine Antoni, Matthew Barney, Nan Goldin, Lyle Ashton Harris, Robert Mapplethorpe, Annette Messager, Yasumasa Morimura, Catherine Opie, Lucas Samaras, Cindy Sherman, Inez van Lamsweerde and Andy Warhol

    

by 
Peter Hamilton & Roger Hargreaves 









Prosthetic Culture: Photography, Memory, and Identity - #1st edition
(International Library of Sociology) by Celia Lury ISBN-13: 978-0415102940  ISBN-10: 0415102944


In regards to the "truth" in photography;  the photographer's perspective; the viewer's interpretation; what makes a photograph authentic, etc.



 A facsimile of the one of the most influential unpublished works in the history of psychology by C.G. Jung. His writings and visual imagery between 1914 and 1930.





John Dewey  Art as Experience
available as a free PDF download.








URL Link:
The Philosophies of Immanuel Kant . Vol 1
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Friday, September 2, 2016

web site building

Website INFO for students
Make sure you review Web Hosting with free Unlimited Domain & Webspace @ webhostingfreereviews.com  There are URLs being launched daily, so there will no doubt be more to add to this list continually.  Find and review other artist/designer websites you might wish to emulate - it’s helpful to discover ones you would like to use as an excellent model to build your own, as well as those you find will not suit your needs. These serve as models too!

 Here are a few > 

www.tiptopwebsite.com/
www.webstarts.com                                     
www.squarespace.com

 and yes, there are many, many more!

godaddy.com  = domain names + web hosting

Those of you with Creative Cloud you can build at http://behance.net


WEBSITE PLANNING 
CREATING AN ARCHITECTURAL BLUE PRINT

Each of you will be creating a website to accompany your BFA Thesis exhibitions. 
It’s good to begin thinking about how you may want your site to be designed.
You will need a domain name for your site that have an annually or biannual fee.

Your web address will be placed on all your promotional materials for your exhibition and professional work.

Organization is important
The organization of your website conveys immediately a great deal of information about you to your audience. Where the categories appear immediately implies a hierarchy of sorts.  
i.e. Here, the ‘builder’ wants the audience to see CV first, CONTACT info last.

CV
BIO
STATEMENT
IMAGES (subdivided into 2D / 3D work / separated by medium)
VIDEO WORK
 EXHIBITIONS
PRESS (text and other writings)
GRANTS  = AWARDS
ARTIST’S LECTURES & PRESENTATIONS
 PUBIC + PRIVATE COLLECTIONS
LINKS
CONTACT et al.


Sketch out loosely on paper, or on the computer, etc. of how you wish to see your website to take shape.

The question is, how do you want the world to initially be introduced to your work and how they will navigate through your pages?


Begin.  >> It doesn’t have to be launched until your satisfied. 
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Wednesday, August 31, 2016

calendar

MAY 2016* Informative meeting with Junior students to go over highlights of Fall 2016 SA498 - Get a head's start!
Establish what is necessary over the summer including:
> making a list of pertinent resources and literature around your topic. Do an Amazon search, followed by a Google search - look for publications, scholarly essays, etc.
> Begin your scholarly research early and start your reading. Develop notes on a few of the located resources - keep annotated comments for bibliography purposes
> begin to think and formulate your thesis question

week 1     AUG 25 
Research Resources > Library 6:00 PM meet with Lauren Michel    

week 2     SEP 01  
Sabbatical Returns opening > Reisman Hall 4 - 5:30 
Establish seminar partner
Survey of pertinent literature + visual works in the field #1  (bibliography) 
Students to discuss three works they are most interested as beginning point
Establish outside email address you will use professionally > email to Pepper
                                                                                        
week 3     SEP 08 
Professor Chris Geyer visits class for assistance in theoretical question development  
DRAFT #1
Submit Title Page, Table of Contents, the beginnings of a Thesis Question, intro    
> Read 4 Capstones from Division of Art + Design - create a 1 page critique on each commenting on organization, image choice + content > Pepper >> NEW Capstone Copyright policy ** discuss <

Read 4 Studio Art and Photography capstones from previous years and write a one and half page (minimum) synopsis on each.  
The following are the questions I want you to be critically aware of and discuss in your synopsis.

1a. Was the thesis question presented by the student, truly a thesis question, thus prompting theoretical research material to support with discovered evidence? 
1b. Was the thesis question too narrow in its focus, or too large in scope to be tackled with specific information? 
1c. What would be the rewrite of the question / statement that you would suggest?

2a. Did the student provide appropriate evidence to support the thesis question?
2b. As a reader, did you understand why the supportive information provided was indeed appropriate to the capstone scope?
2c. Were visual illustrations used effectively to help prove a point?

3a. Writing mechanics :
Were transitions from one idea to the next made smoothly?
Why or why not?
3b. Grammar and spelling --- accuracy? Thus providing a smooth, uninterrupted read?
                       
week 4     SEP 15    
Th3 Syracuse gallery + museum openings, tentative*
Outline of Research paper delivered to Pepper prior to campus 
Establish www and purchase of domain - screen shot 
                                 
week 5    SEP 22      
DRAFT #2
Submit Title page, Table of Contents, Thesis question + intro + bibliography 
+ first 5 pages 
Professional Contacts established contact and set up appointments
Student PPT of personal studio work + research delivered to seminar group
Artist statement of personal studio work DRAFT #1/3 > Pepper
Secure Faculty Committee member #1 + #2 > submit to Pepper
Individual critique with Pepper #1

week 6    SEP 29    
Contracts written for individual Faculty Committee members + Professional Contacts, signed and submitted to Pepper

week 7    OCT 06   
Collaborative Capstone reads 

AUTUMN BREAK IS MONDAY + TUESDAY, OCT 10 + 11

week 8    OCT 13 PEPPER in Baltimore attending NASAD conference

week 9    OCT 20      
Hand in Title page, Table of Contents, Thesis question, Intro + bibliography   + 10 pages DRAFT #3 
Opening reception Reisman Hall Gallery & Artists' Lecture Series Strange Nature          
                          
week 10   OCT 27
Student PPT of personal studio work + research delivered to seminar group
Artist statement of personal studio work DRAFT #2/3 > Pepper   

week 11   NOV 03
Individual student meetings with Pepper week of NOV 2 - NOV 6, plan an hour  
#2 individual critique with Pepper
                                   
week 12   NOV 10
Capstone research + class delivery
DRAFT #3

Hand in Title page, Table of Contents, Thesis question, Intro + bibliography    + 17 pages     
    
week 13   NOV 17    
Capstone research + class delivery

week 14   NOV 24    
Thanksgiving recess

week 15   DEC 01    
Student PPT of personal studio work + research delivered to seminar group
Artist statement of personal studio work DRAFT #3/3 > Pepper
Turn in blog address for PPT # 1 - 2 and 3 or DVD, thumb drive with all Artist                             Statement drafts. Complete Calendar hardcopy, copy and submit to Pepper
DRAFT #4 > 20 page minimum

Stay on track!
By Week 5 you will have had completed:
- Class critique #1.
- established Faculty Committee member #1 + #2 + Professional Contac
- Completed your critiques with Faculty Committee members #1 + #2
          
By Week 7 by Midterm, you will have: 
- Completed critiques with Professional Contact + independent one with Pepper.
- You will have also completed your Class critique #2.
- And will have submitted your Capstone Draft to Faculty Committee Members 
+ Professional Contact for their thorough comments
- Provide Pepper a signed copy of their read and edits

By Week 9 you will have:
- Completed critiques with Faculty Committee members #1 + #2
- You will have submitted signed contracts from Faculty Committee members 
and Professional Contacts to Pepper, agreeing that your Committee members have read and made full comments on your Capstone draft.  Submit the signed contracts to Pepper

By Week 14 you will have completed Class critique #3, and will have completed and submitted your Capstone to Pepper.

Capstone Drafting policy:
  1. All incoming written work needs to be first read by your seminar partner and make appointments with the Writing Center  
  2. Make appropriate corrections prior to handing in hardcopy to Pepper
  3. All work submit in 2-pocketed folder or large folder to Pepper 
  4. Organize the Left side to keep all MARKED work, in chronological order > latest first + marked drafts
  5. Right side:  All new, unmarked work – place folder into a large plastic envelope
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