Art 4369 Collage' Theory & Practice Spring 2017 Tth 8:00

ART 4369 COLLAGE’ THEORY & PRACTICE

SPRING 2017 TTH 8:00 am-10: 45 am J. Pace, Professor of Art 566-7297, ARC 101 Office Hrs.: TTH 11:00-1:00, or by appointment email: [email protected]

COURSE DESCRIPTION This course will explore the tradition and innovation associated with this inherently 20th/21st century approach to art making, Collage’. Derived from the French, coller, "to paste". As broadly defined, collage is the gluing together of a variety of materials, including paper, found objects, fabric, labels, cut up drawings, transfers, and any other material found suitable by the artist. Students will explore a broad range of technical and aesthetic possibilities through the theory of collage. We will develop an approach which embraces the theory of collage’, not simply the techniques. This theory involves the expansion of problem solving approaches; extension of the creative opportunities throughout the working life of the piece; innovation in the combinations of material, genre’, style, subject, form; and most importantly increasing one’s capacity to respond to the needs of the art work.

The professor will define specific conceptual, technical, and formal assignments, and students will present completed works during regularly scheduled critiques. Participation in critiques, showing completed works on time, and active discussion is expected of every student.

COURSE EXPECTATIONS The number of works depends greatly on the complexity and scale of each "cycle" of work. There are to be two levels of works, first the smaller works which may take as little as a single class period to complete, and secondly, the larger, more involved works which may require a few weeks to complete. Students are encouraged to work diligently, and engage in the process. Students will have the opportunity for individual critiques by the professor, as well as group critiques. Students are expected to work on multiple pieces concurrently; depending on scale a good rule of thumb is to keep 3-5 works in a constant working state.

ATTENDANCE ATTENDANCE IS MANDATORY. EACH ABSENCE WILL LOWER THE STUDENTS GRADE 1/2 OF A LETTER. Students are expected to arrive early and be prepared for class by the scheduled start time. Leaving class early will be counted against the student's attendance. Any absence, with the exception of emergencies, will adversely affect grades. Students are encouraged to inform the professor prior to any scheduled absences, and to call the morning of any unexpected absence. ABSENCES ON DEMONSTRATION OR CRITIQUE DAYS ARE NOT ADVISED AND WILL LOWER THE STUDENTS GRADE ONE FULL LETTER GRADE. Any work or information missed due to absence is the responsibility of the student.

1 GRADING CRITERIA

Staying On Task: Every student must continually keep a minimum of 3-4 works in progress. Students are required to work in class every day, commit many hours of work in the studio outside of class time.

1/3 Quality of work, (technically, conceptually, formally), and consideration of personal progress. 1/3 Quantity of work, (number of works completed, scale, and complexity). Although the number of works is ultimately dictated by the scale and complexity of the work, a good guide would suggest one completed work per week for a total of 16-18 works. 1/3 Discussion with professor, attendance, work habits, Utilization of class-time, clean up, and participation in critiques.

COMMUNICATION ETIQUETTE: I am dedicated to helping each of you find your personal voice; I am available to meet with you before, during, or after scheduled classes. However, it would be best for you to make an appointment during my office hours, if this is impossible, we can arrange another time. The best manner of contacting me is via email: [email protected]. I typically check my email multiple times a day, but please allow 24 hrs. for a response. When using email, please adhere to proper email etiquette, such as: “ My Dear Professor Pace, I have a question…” or simply Professor Pace, can you help me with this? I will not respond to “Dude, how’s it going?”, or “Whatsup?!”, Without proper subject line, respectful salutations, or clear content, I will not engage you with a response.

CLASSROOM ETIQUETTE: Developing and maintaining honest, open communication between professor and student as well as student to student requires social agreements. It is important to respect each other as human beings; respect other’s working space and materials. Our engagements will set an important tone to the ambiance of the studio, as well as promote an open dialogue among all of us. Toward these ends, Please: Keep all cell phones off No headphones, ear buds No computers No sleeping Stay home if you are infectious

OUR COMMUNICATIONS: When referring to any faculty member, please remember that they all have earned a high degree of respect, and should be referred to, or addressed as “Professor”, or “Dr.”. In any academic situation, sticking with “Professor ” is the safest path, until you have been invited to address your professors otherwise, even then, I would be circumspect as to the propriety of doing otherwise.

Likewise, engagements with university/departmental staff members should be equally respectful. Please understand that the staff members are critical partners in the department. Please refer to them as Mr./Mrs./Ms.

STUDENT LEARNING OUTCOMES STATEMENT By the end of the course students should be able to: 1. Technical proficiency The student will develop and assemble a technically proficient body of artwork that demonstrates technical proficiency within his or her chosen concentration (2D or 3D), as well as general proficiency in the greater arena of all mediums. 2. Conceptually proficiency The student will develop and assemble a conceptually proficient body of artwork that demonstrates conceptual proficiency within his or her chosen concentration (2D or 3D), as well as general proficiency in the greater arena of all mediums. 3. Historical context The student will develop an understanding of how his or her work relates to art history. 4. Contemporary trends The student will develop an understanding of how his or her work relates to current trends in contemporary art.

2 5. Written analysis The student will engage in written critical analysis of their artwork. 6. Verbal analysis The student will engage in critical verbal analysis of their artwork.

ART STUDIO SAFETY

For access and use of the art studio at The University of Texas at Tyler, students must be currently enrolled in an art studio course and complete a safety training session conducted by the Environmental Health and Safety office or the Art Program. Also students must have on file a signed Art Program Safety Agreement and follow all requirements and guidelines stated in that safety agreement. Violations of the agreement will result in loss of art studio access. NO EXCEPTIONS WILL BE MADE.

Health and Safety guidelines are posted and will be extensively discussed and enforced. It is the student’s responsibility to use the equipment and chemicals safely and wisely. MUCH OF THE EQUIPMENT AND MATERIAL IN THE STUDIO IS POTENTIALLY DANGEROUS. Do not use any equipment or chemical if you have not been instructed in their use. Consult the professor. Respirators, safety glasses, and gloves are recommended. There is an eyewash station near the sinks. Basic first aid supplies are maintained in the studio. In Emergency situations dial 911, this will connect you with the University Police. Fire extinguishers are located in and around the studio. Please familiarize yourself with their location. Any questions concerning the health requirements for or the health risks of a particular chemical or solvent may be found in the MSDS (Material Safety Data Sheet) book located in the print shop. NO FOOD OR DRINK IN THE STUDIOS AT ANY TIME.

Any questions concerning the health requirements for or the health risks of a particular chemical or solvent may be found in the SDS (Safety Data Sheet) book located in the print shop.

SAFETY PROCEDURES

Familiarize yourself with the location of the eyewash and shower. Be sure all cans, containers, jars are tightly capped before you leave-even if you didn’t use them. Be familiar with the location of the fire extinguishers, fire alarm switches and emergency phones. Wear protective clothing, gloves, and safety glasses whenever using solvents or acid baths. Do not use saws or other power equipment while alone in the studio. No equipment may be used without training by faculty. Do not prop open studio doors after hours, or permit non-art major’s admittance to the studio. Do not use spray paint or spray fixative inside the studio, unless using the paint booth with the fan on. Do not climb ladders without assistance Don’t eat the glue, paint, paper, or anything that isn’t meant to be consumed. Don’t set yourself or anyone else on fire. Breathe deeply, relax it will be OK.

CLEAN UP DUTIES EVERYDAY

Maintaining the studio is a significant portion of the learning experience. Please No Shanty Towns No presumptuous domination of common spaces All lids on paints and solvent containers and they are in their proper places. All personal items are in lockers Sinks are drained and clean. Put your work is put away, NO WORK OR SUPPLIES ARE TO BE LEFT OUT. Lights and fans are off if you are the last to leave.

3 PRESENTATION OF WORK REQUIREMENTS The presentation of work promotes the serious and significant nature of your efforts. It is not enough to simply produce work; students are required to present work in the most advantageous manner possible. Clean it, trim it, flatten it, and remove all visual competition. Prints should be placed in folded glassine cut to fit contained in a clean, professional folio. Paintings, Drawings and Collages’ should be refined to the point of exhibition (excluding framing).

CRITIQUE SCHEDULE

Critiques will occur approximately every four weeks, but will adjust to the needs of the particular class. Related to the quantity of work discussed previously, a good rule of thumb is to have six works to choose from for critique. (We generally show 3 works during critique).

CRITIQUES: All work presented for critique must be finished. When preparing for critiques please present work, which is: clean documented fixed (when appropriate) flat (no rolled up works) edges of the work must be considered the back of the work clean installed on a clean surface, with no visual competition

DOCUMENTATION: All work must be documented in a variety of ways. curated (cleaned, fixed, trimmed, flattened) photographic (FLASH DRIVE of all works created for this course due at the end of the semester), digital documentation is. I will retain these thumb drives Word document with title, media, size, (with thumbnail image)

University Academic Calendar: http://www.uttyler.edu/academics/academic-calendar.php

MATERIALS MOST IMPORTANTLY: FOUND MATERIALS: PAPER, FABRIC, OBJECTS, ETC.

STUDENTS MUST COME TO CLASS WITH ALL NEEDED MATERIALS. CLASS TIME IS FOR WORKING, DISCUSSING, AND CRITIQUE. DO NOT SPEND TIME SEARCHING FOR MATERIALS, IMAGES, ETC.

Acrylic medium preferably Utrecht or similar quality. Minimum of 1 gallon. Paper High Quality rag such as Arches Cover Stock, Rives BFK, or comparable Acrylic Paint student’s choice of palette, recommendation: “primaries”. Brushes Hog Bristle, various sizes #3 through #12, + cheap house painting brush Staple Gun/staples get a sturdy one. Arrow makes an affordable, tough common stapler. Photo sensitive emulsions FA-1 Sensitizer, Cyanotype, Photocopy images Wintergreen Oil Methyl Salicylate (may be replaced with Citrosolve) Plywood Found weathered, painted, junk Plastic roll of construction plastic (heavy duty) Gloves disposable latex or non-latex surgical gloves Masking Tape Contact Paper Water containers Drawing Materials graphite sticks, oil paint sticks, oil pastels, charcoal Spray Paint Razor Blades Canvas cotton duck, cheap no heavier than 10 oz.

4 Push Pins *Students will be required to purchase/acquire materials throughout the semester.

TECHNICAL INFORMATION Permanence may or may not be an important consideration to each individual. At times technical and/or aesthetic adventurism may override the artist’s need to consider archival concerns.

Paper adhered to oil paintings or prints have inherent problems: paper will curl on the edges; the oil component may speed the deterioration of the collage elements; and the drying time is longer than with other adhesive approaches.

Gluing two dissimilar elements may require pressure in order to gain Adhesion and/or flatness.

RECOMMENDATIONS FOR ADHESIVES: Acrylic Polymer (matte or gloss) Rhoplex N-580 (pressure sensitive) Wheatpaste S.E.H.T. glue (approved by NGA) Practically all work where paper is glued on panels or canvas eventually will show signs of age. Wood pulp papers (virtually all paper) may become brown or yellow with age, and become fragile. The best protection is through the use of Acrylic Polymer. Encapsulating the paper in polymer reduces exposure to air, therefore reducing damage. Unfortunately nothing can eliminate the damage that may occur due to light. Most commercially printed images are not stable enough to provide permanence. So, if permanence, particularly color permanence, is important to you, then use fine art papers and/or stable pigments.

TERMS AND TECHNIQUES Affiches lacerees = torn posters Brulage = burned work Coulage = application of paint dripped on the surface Dechirage = tearing or torn paper used in collage Decollage = partially pasted or partially torn away Depouillage = stripping away Eclaboussage = paint splashed or spattered on a surface Flottage = colors floated on water and transferred to a surface Froissage =crumpled or crushed paper used in collage Frottage = rubbing of a texture Fumage = patterns created by smoking Grattage = scratchings or scraped areas Lacere anonyme = found object usually in battered condition. Papier dechire = collage of torn papers ______

5 POLICY STATEMENTS:

Cell phones should be turned off or placed in “silent” mode during class. Please don’t disrespect your peers or your professor by allowing your phone to ring. You may take or make calls at designated break times outside the studio. No use of tablets, phones, or laptops during class.

Facility Access & Studio Lab Safety and Mechanical Safety Training Studio facility access is for enrolled students only. Students are required to use appropriate safety equipment (PPE) and practice safe operation procedures when using any hazardous equipment or materials. All students must successfully complete the lab safety training and mechanical safety training and quizzes on Blackboard and complete an Art Safety Agreement before after hours access to the complex is granted. Failure to adhere to the terms of the Art Safety Agreement will result in the loss studio facility access.

Personal Protective Equipment (PPE) For your safety, you must follow all safety requirements established by the department and university. It is required that you provide you own Personal Protective Equipment for use in studio areas. This equipment includes: dust mask with at least a N95 rating and attached filter, safety glasses, ear protection, gloves, close-toed shoes, and appropriate clothing. Failure to use this equipment while working may result in the loss of studio privileges.

Materials and Chemicals Any additional materials or chemicals not included on the course material list must be approved by the faculty member in charge of the area where the chemical (material) will be used prior to the material/chemical being brought into the studio. Students are responsible for notifying the studio technician of any new materials/chemicals the day they are brought to the studio in order to insure that the appropriate Safety Data Sheet is on file and in the SDS binder.

Labels for any new, approved chemicals brought into the art studios must include the following information when they are transferred to a new container or if the original chemical label is damaged: Name of Chemical, Date chemical was opened, and any basic hazards associated with the chemical. Labels are located in each studio and must be filled out and adhered to the container immediately.

Students Rights and Responsibilities To know and understand the policies that affect your rights and responsibilities as a student at UT Tyler, please follow this link: http://www.uttyler.edu/wellness/rightsresponsibilities.php

Grade Replacement/Forgiveness and Census Date Policies Students repeating a course for grade forgiveness (grade replacement) must file a Grade Replacement Contract with the Enrollment Services Center (ADM 230) on or before the Census Date of the semester in which the course will be repeated. Grade Replacement Contracts are available in the Enrollment Services Center or at http://www.uttyler.edu/registrar. Each semester’s Census Date can be found on the Contract itself, on the Academic Calendar, or in the information pamphlets published each semester by the Office of the Registrar.

Failure to file a Grade Replacement Contract will result in both the original and repeated grade being used to calculate your overall grade point average. Undergraduates are eligible to exercise grade replacement for only three course repeats during their career at UT Tyler; graduates are eligible for two grade replacements. Full policy details are printed on each Grade Replacement Contract. The Census Date is the deadline for many forms and enrollment actions that students need to be aware of. These include: Submitting Grade Replacement Contracts, Transient Forms, requests to withhold directory information, approvals for taking courses as Audit, Pass/Fail or Credit/No Credit. Receiving 100% refunds for partial withdrawals. (There is no refund for these after the Census Date) Schedule adjustments (section changes, adding a new class, dropping without a “W” grade) Being reinstated or re-enrolled in classes after being dropped for non-payment

6 Completing the process for tuition exemptions or waivers through Financial Aid State-Mandated Course Drop Policy Texas law prohibits a student who began college for the first time in Fall 2007 or thereafter from dropping more than six courses during their entire undergraduate career. This includes courses dropped at another 2-year or 4-year Texas public college or university. For purposes of this rule, a dropped course is any course that is dropped after the census date (See Academic Calendar for the specific date). Exceptions to the 6-drop rule may be found in the catalog. Petitions for exemptions must be submitted to the Enrollment Services Center and must be accompanied by documentation of the extenuating circumstance. Please contact the Enrollment Services Center if you have any questions.

Disability/Accessibility Services In accordance with Section 504 of the Rehabilitation Act, Americans with Disabilities Act (ADA) and the ADA Amendments Act (ADAAA) the University offers accommodations to students with learning, physical and/or psychological disabilities. If you have a disability, including non-visible a disability diagnosis such as a chronic disease, learning disorder, head injury or ADHD, or you have a history of modifications or accommodations in a previous educational environment you are encouraged to contact the Student Accessibility and Resources office and schedule an interview with an Accessibility Case Manager. If you are unsure if the above criteria applies to you, but have questions or concerns please contact the SAR office. For more information or to set up an appointment please visit the SAR webpage (http://www.uttyler.edu/disabilityservices/) or the SAR office located in the University Center, Room 3150 or call 903.566.7079. You may also send an email to [email protected].

Student Absence due to Religious Observance Students who anticipate being absent from class due to a religious observance are requested to inform the instructor of such absences by the second class meeting of the semester. Student Absence for University-Sponsored Events and Activities If you intend to be absent for a university-sponsored event or activity, you (or the event sponsor) must notify the instructor at least two weeks prior to the date of the planned absence. At that time the instructor will set a date and time when make-up assignments will be completed.

Social Security and FERPA Statement It is the policy of The University of Texas at Tyler to protect the confidential nature of social security numbers. The University has changed its computer programming so that all students have an identification number. The electronic transmission of grades (e.g., via e-mail) risks violation of the Family Educational Rights and Privacy Act; grades will not be transmitted electronically.

Emergency Exits and Evacuation Everyone is required to exit the building when a fire alarm goes off. Follow your instructor’s directions regarding the appropriate exit. If you require assistance during an evacuation, inform your instructor in the first week of class. Do not re-enter the building unless given permission by University Police, Fire department, or Fire Prevention Services.

Campus Carry We respect the right and privacy of students who are duly licensed to carry concealed weapons in this class. License holders are expected to behave responsibly and keep a handgun secure and concealed. more information is available at http://www.uttyler.edu/about/campus-carry/index.php .

Tobacco-Free University All forms of tobacco will not be permitted on the UT Tyler main campus, branch campuses, and any property owned by UT Tyler. This applies to all members of the University community, including Forms of tobacco not permitted include cigarettes, cigars, pipes, water pipes (hookah), bidis, kreteks, electronic cigarettes, smokeless tobacco, snuff, chewing tobacco, and all other tobacco products. students, faculty, staff, University affiliates, contractors, and visitors.

7 There are several cessation programs available to students looking to quit smoking, including counseling, quitlines, and group support. For more information on cessation programs please visit www.uttyler.edu/tobacco-free.

ART PROGRAM AFTER HOURS POLICY

After hours access is defined as anytime outside of Monday-Friday, 8am-5pm. Also after hours are times that fall outside of regular class days according to the official university calendar. Art students may have access to the art studios only after reading and signing the Art Student Safety Agreement and turning this form in to the Studio Technician. A list is compiled of art students who have completed the Art Studio Safety Agreement and given to Campus Police. Students are to sign in when arriving and out when leaving on the sheet provide at entry of building. Students found in the building and not signed in, will have access privileges removed and should be reported by Campus Police and to Art Chair. During safety training, students are informed that there are certain tools, materials and equipment in the art studios that are never to be used unsupervised or alone. Students may use and have access to tools, materials and supplies only with prior approval from professor overseeing that area. Only students on the current access list are allowed after hour’s access to the art studios. Those not permitted access include children, friends, spouses and partners of students on the access list, and of course no knife wielding maniacs. Any violation or unusual events or circumstances are to be reported to Campus Police as well as Art Program Chair immediately. Although students included on the access list may work in the studio after hours, they may not sleep or spend the night in the art studios. Students found in violation of Art Studio Access Rules will have after hours access privileges removed. CAMPUS POLICE: 7300 (from campus phone) or 903-566-7300 ART OFFICE: 7250 (from campus phone) or 903-566-7250

Brief History of Collage’

A century ago Pablo Picasso and Georges Braque, occupied with the development of Cubism, hit upon a technique of humble origins but resounding consequences. Once let loose, collage was so perfectly adaptable to other ways of thinking about art that it has been reworked and repurposed nearly every decade since. What is at the heart of this affinity for the medium in the modern age? To be sure, collage’s felicitous juxtapositions and rude incongruities are in step with the rise of mass culture and its relentless competition for our attention. On a darker note, maybe this method of creation that uniquely depends on a destructive act — wrenching and cutting bits of content out of context — was just what was needed to represent the turbulent 20th century. And the recasting of the romantic artist as scavenger and recycler seems apt in our post-heroic era. Whatever its root, the attraction continues. Cutting and pasting, of course, predates Cubism. But it was the Parisian Cubists who first imported it from the realm of handicraft into the fine arts. (The technique’s name derives from the French papier collé, or “glued paper.”) No one is sure exactly who made the first snip. A case has been made for Picasso’s integration of a piece of oilcloth printed with a cane pattern in Still Life with Chair Caning; others argue for Braque’s use of wood-grain wallpaper in Fruit Dish with Glass. Both works are from 1912. Despite the long-recognized importance of this period to the development not only of collage but also of modernism, fine examples can still be had.

Kurt Schwitters: A leading Dadaist, tone poem composer, sometime typographer, and restless innovator, Schwitters introduced the use of collage as a snapshot of the everyday. He integrated scraps of cardboard, bits of text, and ticket stubs found in the street, their juxtapositions emblematic of life’s chance encounters. Newsprint was not an illusionary stand-in for a newspaper in a composed still life, but a piece of the quotidian right there on the picture plane. He liberated the letters merz from an ad for Kommerzund Privatbank and pasted the nonsense syllable on an early work, then went on to apply the term to hundreds of collages, paintings, and even an ever-changing environment of found objects bound together with plaster.

Varvara Stepanova: Though too often under-represented in its history, women were central to Constructivism in Russia. Stepanova created fabrics and clothes for the proletariat and designed some of the period’s most arresting graphics for posters and publications, working alongside her husband, Alexander Rodchenko. Collage played a key role in the development of the movement’s style, allowing for a mix of clean typography, active figures and engaging faces cut from photos, and thrusting geometric forms emblematic of the relentless march of Communism. Even in non-propaganda work, Stepanova’s shrewd ability to evoke motion on a static page shines.

Hannah Hoch: “Höch’s work anticipates the feminist observation that the personal is political,” observes Jane Kallir,. As the most prominent woman in the male-dominated Dada circle, Höch had plenty of reason to take up the cause of women’s rights, but her art was never didactic. As Kallir notes, Höch was able to bring a subjectivity to even overt political topics that grounded her art without dulling its bite. And she embraced a wide range of aesthetics, deploying absurdist social parodies, nearly abstract graphic experiments, and Surrealist dreamscapes with equal aplomb.

John Heartfield: As with collage itself, the question of exactly who invented the offshoot technique of photomontage is still debated. Heartfield often gets credit, and in any case he was an undisputed master, able to join pieces from various photos into balanced compositions perfectly calibrated to skewer the powers that be. Regularly arrested by Weimar authorities and, like Schwitters, forced to flee his native Germany following the Nazis’ rise to power, Heartfield was a devoted Communist, yet he steered clear of the Constructivists’ earnest celebration of the working class. While his art addresses social inequity, it also drips with acid humor.

Robert Rauschenberg: Rauschenberg’s best-known work, from the “Combines” he introduced in the mid 1950s to the later screen- prints made of layered imagery lifted from mass media, derives directly from early experiments with collage proper. Works made in 1952 and 1953 already reveal him to be expert at editing visuals from the world around him. These spare pieces often join just a couple of pictures taken from old books with odd pieces of cloth. The addition of an occasional brushstroke of paint — and in one case feathers — now seems to foreshadow the “Combines.” The iconography steers clear of the overtly surreal, but hints at an intensely personal symbolism reminiscent of that of Joseph Cornell.

Addie Herder: Putting to use her keen eye for graphic design, Herder built collages whose evocations of architectural facades and stage sets veer into the realm of abstraction. They are striking for her ability to treat monumental subjects at an intimate size as well as to infuse formalism with a sense of play. Where many collagists rely on figurative imagery to engage viewers, Herder’s work delights the eye with mere juxtapositions of shapes and variations of color. Herder honed her compositional skills working as a commercial artist, and although she never took to Pop, her studio was a meeting place for Jasper Johns, Andy Warhol, and others who would take up techniques from both collage and commercial art.

Martha Rosler: The Pop art movement famously came into being with a collage: Richard Hamilton’s Just what is it that makes today’s homes so different, so appealing?, 1956, depicting a chockablock living room that mocks the media’s selling of the good life. A decade later, in a sort of hybrid of Hamilton and Heartfield, Rosler began an angry and witty series critiquing both the Vietnam War and the way civilians consumed easy doses of conflict in the newspaper alongside furniture advertisements. The photomontages in her “House Beautiful: Bringing the War Home” series place soldiers and casualties of war front and center in elegant interiors.

Betye Saar: At the heart of Saar’s practice is collage’s intrinsic potential to reanimate history. The artist has for decades scoured flea markets for remnants linked to the fractured story of African-Americans, which she then gives a new life. Mamie dolls are recast as heroines in works of assemblage — the three- dimensional sibling of collage, of which Saar is also a master — while collages create new context for book jackets worn down by readers’ hands, illustrations of slave ships excised from history primers, and anonymous portraits rescued from family albums. Manifestly narrative, these artworks fuse the individual and the archetypal in the manner of literature.

9 Arturo Herrera: If fragmentation and augmentation are collage’s twin operating principles, Herrera clearly favors the former. While he was known early on for taking cartoons as his starting point, one always sensed he felt a purely formal attraction to the curve of a line. If the source material then seemed beside the point, it is now largely invisible. As he has become more indiscriminate, cutting bits of imagery from all manner of media, including his own paintings, his knife work has become more severe, often producing little more than a jagged patch of red or blue. Yet when seen assembled in a mural-size abstract composition, these bits become a riot of color and more than the sum of its parts.

Wangechi Mutu: A Machine for Luddites, 1983, Augmentation is central to Mutu’s method, which typically integrates elements from fashion magazines, pornography, and documentary photography with ethereal watercolors. The results are surreal, hybridized female figures that are beautiful and monstrous, delicate and fierce, vulnerable and assertive. While the artist has said her aesthetic developed in response to her early encounters with sexism and oppression in her native Kenya, these figures embody a universal experience. Through augmentation, Mutu makes visible the transcendent processes by which the individual builds up her identities, lays on her defenses, and ultimately constructs her self.

Ryan McNamara: Donning the mantle of Allan Kaprow, who called his famous Happenings “action collages,” Ryan McNamara creates unscripted performances, often enlisting the help of whomever may be around., the young artist turned Kaprow’s coinage on its head, inviting gallery visitors during the first weeks to enact various situations, then in the final weeks displaying props collaged with photos from the actions. Silhouetted figures in garish colors prance and jump on a desk, a lamp, a sheet of wood paneling.

(Portions of an essay by Emily Bell Winter 2007 Collage has also been thought of as the manifestation of a specific historical moment, a moment of crisis in consciousness both social and political. This specific historical moment can be called modernity, and is directly related to capitalism and reproduction. Walter Benjamin's discussion of mechanical reproduction in "The Work of Art in the Age of Reproduction", touches on a central argument surrounding collage. Certain types of collage incorporate images that come directly from mass production, including print culture and photography. "[Technical reproduction] also had captured a place of its own among the artistic processes. For the study of this standard nothing is more revealing than the nature of the repercussions that these two different manifestations-the reproduction of works of art and the art of the film-have had on art in its traditional form" [8]. Of these two manifestations, the former makes collage possible, the latter is a product of it, specifically in photography and montage. The dialogue between collage and capitalism politicizes the practice, paving the way for overtly political art in the form of collage.Collage continued to be used by more experimental artist, particularly in the Dada movement. Kurt Schwitters, from the Berlin Dada group, used many found objects in his collages, often from the street.The Berlin Dada group was known for using newspaper cutouts and photographs in a "political, satirical and socially critical fashion" [9]. Collage has also been used as political propaganda. The social implications of the term collage are evident in the multiple meanings. A French word, sticking or gluing is the most common definition for collage, however, not necessarily the most interesting. In colloquial French, collage means "having an affair, or an unmarried couple 'living in sin'" [10]. Francis Frascina points out that in Cubist collage, "words and images cohabit, producing novel combinations and contexts" [11]. Moreover, collage demands interaction between the work and the viewer, and each one of these interactions are novel. The viewer recognizes the chair-caning and has had a personal, physical relationship with that object, unlike anyone else's experience. There is a sense of ownership in that respect. On the other hand, collage (as does much of modern art, I would argue) also reinforces interpersonal relationships, encouraging discussion of the formal qualities or the work, producing the sentiment of solidarity. And there is the sexiness of collage that Frascina alludes to with his colloquial definition; both the unmarried couple and the collage are capable of sense of randomness, even risk, that is not possible when there are strict structural restrictions.

TRACDAT Program SLO’s

10 CORE Courses (ART 1301, 1306, 2303, 2304)

CRITICAL THINKING SKILLS: to include creative thinking, innovation, inquiry, and analysis, evaluation and synthesis of information

COMMUNICATION SKILSS: to include effective development, interpretation and expression of ideas through written, oral and visual communication

TEAMWORK: to include the ability to consider different points of view and to work effectively with others to support a shared purpose or goal

SOCIAL RESPONSIBILITY: to include intercultural competence, knowledge of civic responsibility, and the ability to engage effectively in regional, national, and global communities.

BA Program

CRITICAL WRITING Students will be able to write research papers that demonstrate a thoughtful and critical approach to analysis of a work of art.

CRITICAL THINKING Students will be able to demonstrate extemporaneous critical thinking about works of art.

HISTORICAL IDENTIFICATION Students will be able to identify major art styles and movements over the course of human history.

SYNTHESIZE KNOWLEDGE Students will be able to write research papers that integrate history, formal analysis, and contemporary scholarship in order to develop original scholarship of their own.

ANALYSIS OF ART HISTORICAL THEORY Students will be able to write a summation and critical analysis of contemporary scholarly essays in order to compare and contrast academic points of view.

ANALYZE WORKS Students will be able to write a formal analysis of a work of art as part of a research paper.

MA Program

CRITICAL THINKING Students will demonstrate critical thinking about works of art.

SYNTHESIZE KNOWLEDGE Students will write research papers that integrate history, formal analysis, and contemporary scholarship in order to develop original scholarship of their own.

CRITICAL WRITING Students will write research papers that demonstrate a thoughtful and critical approach to a work of art.

APPLY SCHOLARSHIP Students will write research papers that integrate contemporary scholarship into their own assessment of art and art history.

ANALYZE SCHOLARSHIP Students will review literature and analyze scholarly methodology as part of the thesis project.

ORAL PROFIECIENCY

11 Students will present their original scholarship as part of the requirements for art history courses.

BFA Program

TECHNICAL PROFIECIENCY Students develop and assemble a technically proficient body of art work that demonstrates technical proficiency within their chosen concentration (2D or 3D), as well as general proficiency in the greater arena of all mediums.

CONCEPTUAL PROFIENCIENCY Students develop and assemble a conceptually proficient body of art work that demonstrates conceptual proficiency within their chosen concentration (2D or 3D), as well general proficiency in the greater arena of all mediums.

HISTORICAL CONTEXT The student will be able to develop an understanding of how his or her work relates to art history.

CONTEMPORARY TRENDS The student will be able to develop an understanding of how his or her work relates to current trends in contemporary art.

WRITTEN ANALYSIS The student will be able to engage in written critical analysis of artwork.

VERBAL ANALYSIS The student will be able to engage in verbal critical analysis of artwork.

MFA Program

ANALYZE OBJECTS Students will be able to analyze the components of their visual object(s) and articulate the intended and discovered content of their aesthetic.

CONTEXTUALIZE AESTHETICS Students will be able to contextualize the artist's aesthetic to the canon of art history and contemporary art theory.

DOCUMENT WORKS Students will be able to digitally document their art works for the purpose of archiving, application, and presentation.

EXHIBIT WORKS Students will participate in juried, solo, group or curated exhibitions of their work.

INTERPRET WORKS Students will be able to define and interpret their works of art within the context of contemporary art.

RELATIVITY The student will be able to critique art works relative to traditional standards v. innovative standards.

The University of Texas at Tyler Art Safety Agreement (revised 6.28.16)

I, (print full legal name______, am an adult student of The University of Texas at Tyler (the “University”) over the age of eighteen, and wish to use the art studios of the Department of Art and Art History during the______201___ semester. I acknowledge that I have: 1) attended a basic safety-training course offered by the University conducted in the art studios on______(enter date and time attended), 2) have completed the Environmental Health and Safety Lab Safety training course on BlackBoard, 3) have passed the Lab Safety training quiz on BlackBoard, and 4) will attend the Best Practices meeting that is required at the beginning of each semester by the Department of Art and Art History. I further acknowledge that I understand the material presented in the basic safety-training course, the course syllabus, and the Environmental Health and Safety lab safety training and will comply with all safety and usage guidelines as prescribed by the Department, University, and University of Texas System policies.

I understand that using equipment in the art studios poses potential risk of serious injury, and I agree to use all equipment in a safe manner in accordance with applicable safety and operating instructions. I agree that I will not use any equipment unless I have been fully trained in the proper use of the equipment and thoroughly understand how to operate it safely. I will not use equipment that is not functioning properly, or that has been designated as unserviceable by the University. I will not use any equipment outside of class unless given permission in writing by the instructor in the respective art studio class. I will wear appropriate safety protection (PPE) as described and demonstrated in the basic safety-training course when using any equipment that may cause injury. I also agree to abide by all posted studio safety and access rules.

In addition to my compliance with the equipment usage, I understand that there are risks involved with the materials and chemicals that I may be using or be in contact with throughout the course of the semester. I agree that I will not bring any materials not included on the course material list into the art studios without prior approval by the faculty member overseeing the studio area in which I am working. I also understand that I must notify the studio technician of any approved chemicals and materials at the time that I bring them into the studio complex. I understand that all chemicals must have an appropriate label on the container at all times, and that I will replace a damaged label (on the original container) or adhere a new label to an alternative container that satisfies the label requirements listed in my course syllabus. Just as I will take the proper safety precautions when using equipment, I will use the appropriate safety protection (PPE) while working with any materials and/or chemicals in the studio that are considered hazardous.

In consideration of my use of equipment and chemicals in the art studio, I hereby accept all risks to my health that may result from such usage. I hereby release The University of Texas at Tyler, its governing board, officers, employees and representatives and The University of Texas System, its governing board, officers, employees and representatives from any liability to me, and any and all other persons regardless of capacity who may have a cause of action through me for any and all claims and causes of action for loss of or damage to my property and for any and all illness or injury to my person, including death, that may result from or occur during participation. I further agree to indemnify and hold harmless The University of Texas at Tyler and its governing board, officers, employees, and representatives and The University of Texas System, its governing board, officers, employees and representatives from liability for the injury or death of any person(s) and damage to property that may result from my negligent or intentional act or omission while participating in the activity.

I understand that my use of equipment and materials in the art studios is strictly voluntary and based upon the mutual agreement of the parties and that my access to the art studios is conditional on my abiding by the usage terms and conditions contained in this Agreement and/or availability of the

13 equipment and authorization by the University. The terms and conditions of this Agreement may be amended by the University if deemed in the best interests of the University.

I understand that I will not be permitted to use the art studios or equipment if I do not agree to the usage terms and conditions contained in this Agreement and have this properly completed and signed form on file in the Department of Art and Art History office. I understand that it is my responsibility to turn this form into the Art Studio Technician who will make sure that it is kept on file. I understand that I will not be granted after-hours access until I have completed the Environmental Health and Safety lab safety training and passed the lab safety quiz. Failure to adhere to the terms of this Agreement will result in the loss studio facility access.

I acknowledge that I have read and understand this Agreement, and my signature is evidence of my acceptance of the terms and conditions contained herein.

Signed:______Date: ______

StudentID Number: ______

Course:______Section: ______Professor: ______

Return to Department of Art and Art History Studio Technician. Do not return to professor.