Creating a Conceptual Framework for Images

INSTALLATION FLOOR PLANS

SPREADSHEET OF NAMES AND LOCATION DESCRIPTION

Print out both from Attachments below.

You can also pick up the forms outside of Erica's office. 

Evaluation week is quickly approaching.
You should be doing a few things:
1. Drafting a well-written self-evaluation that you have thoughtfully considered (after possibly going to a writing workshop offered by the Writing Center), looked it over, proofread, and had someone else proofread it.

2. Drafting a well-written teacher evaluation for your teacher. We put a lot of work into your evals, please do the same for us. I know I will require an evaluation from each student, whether or not you are in my program. Steve will announce if he wants evals from all students, or just his seminar students.

3. Arranging your final portfolio for evaluation week.
    For this, I would like a neatly arranged, easy to navigate portfolio that we can reference while we write up your evaluations.  Most everything should be on _one_ CD and one DVD, or all on one DVD, in addition to any photographic prints you feel are important to show through actual prints.
    Altogether, this is what your portfolio should include:
    1. CD: Digital images of your Holga assignment (of the digital prints), photo of Lightbox or supporting material,             images of your final installation.
    2. DVD: your iMovie assignment
    3. Photographic prints
    All of these should be contained together in some form-- an envelope, folder, or held together somehow.

THIS IS ALL DUE BY 5PM ON FRIDAY, MARCH 16.

Erica's Seminar

Week 8: Stephen Sharrett, Colin Self, Jesse Chieffo, Eric Smith, Amber Shannon

Week 9: Roan Edwards, Julia McAlee, Taryn Hammer, Heather Stewart

Steve's Seminar

Week 8: Rosalyn Kagy, Tahnee Laur, Jesse Nkinsi, Claire Price

Week 9: Justas Osmer, Kamaria Daniel, Alexis Wolff

The link between photography and sculpture in conceptual art is fundamental, even though most people perhaps do not recognize this anymore; it’s not enough assigning to photography the task of documentation; the problem is more complex. In conceptual art in its clearest moments, photography displaces or takes on the condition of the object or dismantles the traditional parameters of spatial and material organization. I cannot separate photography from my sculptural practice. I don’t know in advance whether I will need to use photography or whether it will, at the end, become an object. What I am doing, how it ends up as a sign, is all about language, but sometimes it becomes a physical thing, sometimes it is just photography. -Gabriel Orozco