University of
Manitoba, School Art
COURSE SYLLABUS
STDO
1450 Open Studio 1 • 3
credit hours
Instructor: Derek Brueckner Instructor’s
Office: 312 Fitzgerald Building
TELEPHONE: 474 – 9549 (Instructor’s Office)
Instructor’s
Office Hours: Most days will be available to meet
after class, but it is strongly suggested that students book appointments for
consultation with instructor.
Course Schedule: Mondays 11:30 am to 2:20 pm
Estimate hours of out-of-class
work per week: 3 to 6 hours minimum per week
Pertinent information from course will be posted on
the course blog. Updates will be made on a regular basis. It is advised that
students check and consult the blog on a regular basis. If students have
questions regarding course blog information/assignments print out text and
consult instructor with text.
Estimated Costs of Materials, Supplies, or Other Financial Impact:
The Open
Studio course supply costs will vary depending on what students choose in terms
of materials and the direction in which students choose to take certain
projects particularly during the second term. Overall there is an estimate of $150.00 for costs of art supplies and
materials for the entire course. Plus students will require access to a low-end
consumer digital camera or video
camera. Other additional costs may include Winnipeg Art Gallery yearly passes
or museum entry fees, travel cost and/or parking costs during gallery
tours/field trips, and printing costs for resource imagery or presentation
materials.
COURSE CALENDAR DESCRIPTION:
Expanding concepts and ideas developed in Visual Language, students
investigate the nature of contemporary art and design. Prerequisite for further
study in fine arts studio courses. May not hold with STDO 1200 (054.120) or
STDO 1220 (054.122). Prerequisites for
Open Studio 1 are: STDO 1410 Visual
Language and STDO 1430 Art Now.
COURSE PURPOSE AND
OBJECTIVES:
The Open Studio course will emphasize concepts and ideas determining the
choice of subject matter, thematic/metaphorical content, and multiple hybrids
of materials and disciplines used. Innovative approaches to art making in
relation to contemporary ideas will always be integrated into the research and
development of each project. Overall this Open Studio course will be about blurring
the boundaries of genres and disciplines (such as in "Sculpture in the
Expanded Field" by Rosalind Krauss). One of the many goals of this open
media course is to move outside the heritage mediums of drawing/painting
(handmade 2D work), photography, ceramics/sculpture (3D) and printmaking
(etching, silkscreen, linocut, etc) as single disciplines.
Open Studio 1 Instructor:
Derek Brueckner
COURSE PURPOSE AND OBJECTIVES
(continued):
The intention of this course is to shed the preconceived ideas and
concepts relating to a single medium and/or discipline. Instead this Open
Studio course is about researching and developing new genres, multiple
combinations and various multidisciplinary hybrids of art making in relation to
contemporary thematic/metaphorical content. Methods of art practices may
include options of integrating: installation, digital reproduction and time
based work (performance, video, animation, book works) as components for each
project.
As in other first year courses
this Open Studio course will cover a broad range of formal
and conceptual concerns, including but not limited to composition, materiality,
the subject, expression, and metaphorical content. This entire course
will also encourage cultural and personal concepts along with analytical and
intuitive creative approaches, which demonstrate ambitious, visually literate,
conceptually informed and innovative self – expression. This open studio course
and other 1st year courses here at the School of Art are preparation
for intermediate and senior studio courses.
COURSE STRUCTURE and INTRUCTIONAL METHODS:
This course’s structure allows for individual and class
discussions (individual and group critiques) that assist in forming the
direction of the studio work. As well the ongoing dialogue between the instructor,
the individual student and the class is developed to create a sense of
community. Discussions will address problems of interpretation, methods of
representation, materials, scale, contemporary aesthetic issues, etc., and will
provide the opportunity for dialogue concerning the conceptual basis of the
work. Conversational English will be required for this course. Data projector
presentations, demonstrations and field trips may be scheduled periodically to
enhance the above concerns. Note taking will be required during presentations,
group critiques and discussions with instructor.
Often this open media course starts with an input at the
beginning of class, students are required to be in class on time and attendance
is compulsory (see more details regarding ATTENDANCE policy in this syllabus p.11) All
absences during class, late arrivals and early departures are recorded every
day.
Students are required to have a University of Manitoba
email account. (See ELECTRONIC
NOTIFICATION policy in
this syllabus p.3) This email account ensures that
information regarding course assignments and daily activities is cohesively
communicated between instructor and students. All text communications to students will be done through the U of M
email.
Making provisions for an open mind is essential for
this course. An open and curious mind in many ways is linked to a student’s
ability to apply criticism and to thoroughly research each assignment. Research methods for this School of Art
course include independently locating and reading non-art and art related books
and other texts, and investigating within the studio class various art
processes and art practices. The goal of these research methods is to expand
and diversify knowledge via the innovative synthesis of written/verbal ideas
with visual art making processes.
As well an open and curious mind is linked to
expanding ideas and processes through out the course. Overall in this course
students are always expected to analyze their work in progress and develop
numerous intuitive and analytical processes that ultimately expand their own
understanding of various philosophies. More importantly this philosophical
expansion is interrelated to broadening each students’ comprehensions regarding
the philosophical purpose or functions of art (beyond conventional “pretty” or
“cool” art) For the entire course students do not have to agree with certain
philosophies or ideologies. However, as a part of any assignment’s objectives
this course always expects the synthesis of thorough research and comprehension of a philosophy and that
this synthesis is ultimately communicated clearly by the work in a critical,
unique, and sophisticated manner.
Open Studio 1 Instructor:
Derek Brueckner
COURSE STRUCTURE and INTRUCTIONAL METHODS (continued):
Students are expected to integrate the potential breadth
of new knowledge received in the course with their personal ideas and
interpretations. Individual critical discussions of works in progress with the
instructor occur continuously throughout the term. Utilizing criticism and
dialogue with instructor and peers, and researching terminologies are essential
for developing the studio work, verbal terminology and formal vocabulary in
relation to concepts. Through out the course students will focus on pursuing
personalized innovative open media processes in relation to late 20th Century
and current ideas (contemporary art). These processes include a variety of
materials that will emphasize thematic/metaphorical, and technological and
conceptual applications. Handmade processes are emphasized with the integration
of 2D disciplines in relation to digital media, 3D disciplines, and/or time
based media.
Note Taking and Participation: Note taking will be required as part of the
participation for this course. Students should be prepared with a small
sketchbook for note taking for each class as well as during individual
critiques with instructor and during group critiques with peers.
Assignments will involve a synthesis of formal and
conceptual issues that will often overlap each other, they are:
· Thematic Content (use of symbol, metaphor, allegory,
icon, motif, signifier, etc) Generally all formal choices including various
emotive styles, colour and material manipulation will interrelate to innovative thematic content.
· Other formal concerns such proportions, composition and
emotive style will also be considered and developed in relation to innovative
thematic content
· Broad range of formal approaches will be considered in relation
to thematic content
· Time and Space in relation to volumes and planes (representational
and abstract) will be considered in relation to thematic content
· Lighting in relation to innovative thematic content
· Sound in relation to innovative thematic content
· Scent in relation to innovative thematic content
· Textures (variety of surfaces - illusionary and
physicality of materials)
· Unity and diversity of formal elements will also be
considered in relation to thematic content.
· Colour application and theory in relation to materials.
· Open Media in relation to current ideas, traditional materials
in combination with non-traditional art materials, and/or non-euro centric
ideas (i.e.: technology, installation, performance, or current issues)
· Ideas in relation to Post-Medium, Post-Studio and/or
Transdisciplinary research
ELECTRONIC NOTIFICATION:
You will also be required to
have a University of Manitoba email account. This email account will ensure
cohesive communication with instructor and all enrolled students in this
course. Having a U of M email account is also meant to encourage students
taking fine arts courses to investigate and utilize the various software
offered in the computer lab at the School of Art. Once you have a U of M
account you will be able to access the School of Art Computer Lab in the
basement of the Fitzgerald building. The U of M email accounts are free for all
University of Manitoba students and will be imperative for this course. As a
university policy it is mandatory that all students maintain and regularly
monitor a University of Manitoba email account. Critical information from the
registrar, instructors and the School of Art will be relayed to you through the
Web mail, Jump and Aurora electronic notification systems.
To get your free U of M account
visit https://pasweb.cc.umanitoba.ca/webapp/gu/claimid/
Open Studio 1 Instructor:
Derek Brueckner
ELECTRONIC NOTIFICATION (continued):
Students without personal computers can use computers in Information
Services and Technology labs in a variety of locations on campus including the
Dafoe Library.
Forwarding U of M emails to other email accounts such as your personal
email account (such as personal email addresses for hotmail, yahoo, gmail, shaw,
etc) please visit
http://mail.cc.umanitoba.ca and click
on the 'basic' listed below tools, which will connect to basic mail account
management https://mail.cc.umanitoba.ca/sieve/
More information is available
in your orientation package or by calling IST at 474-8600.
If students have questions regarding
information/assignments sent in emails or from course blog print out text and
consult instructor with printed text.
ELECTRONIC DEVICES in CLASS:
Cell phones and other electronic devices must be
turned off during class time. This also includes no text messaging during class time.
ACADEMIC ACCOMMODATION:
Please approach your instructor
as soon as possible should you need
some form of academic accommodation. Students with disabilities should also
contact Disability Services, located
at 155 University Centre (Phone: 204 474-6213; TTY: 204 474-9790; Fax: 204
261-7732; E-mail: disability_services@umanitoba.ca)
MATERIAL and PROCESS RESTRICTIONS:
Flammables,
poisons, potentially biohazardous materials, aerosol sprays and
high-temperature processes are strictly prohibited in the Foundations
classrooms, adjoining hallways and the vicinity of the Fitzgerald Building. The
instructor must be consulted before any materials or processes not on the class
materials list may be used. If there is any doubt as to the safety of work to
be undertaken, work must be halted until the instructor has been consulted.
Spray fixative may only be used outside. After using spray fixative, drawings
must be left to dry outside for a minimum of 30 minutes to gas off. Ensure no
campus property gets sprayed with paint or other materials if working outside.
Cover an area with plastic (inside or outside) if art materials will go beyond
a project’s borders.
CLASS POLICIES
This
class is intended as a forum for creative, independent thinking and open
discussion of Art, Design and its attendant issues within a respectful
environment. Disruptive, damaging or
dangerous behavior is not acceptable and will be penalized. Persons not
enrolled in the class may be present only by permission of the instructor. Each individual will be held responsible for
keeping the classroom clear of debris after each class. All unclaimed work will be disposed of two
weeks after grading. Ask your instructor before storing
any materials or artwork in the studios.
Students are required to attend all
discussions, demonstrations, etc., that are scheduled for their classes, and if
any are missed they must be made up in full at the earliest possible moment.
STUDENT PARTICIPATION in the
PRESENTATION or DISCUSSION of ART:
At the School of Art, numerous required and elective courses contain
content that includes working from the nude model and some language, imagery,
or dialogue that may offend students. In particular, the School of Art provides
comprehensive art training that requires use of the nude model in some courses.
In viewing and discussing works of art, the School of Art encourages the
broadest possible tolerance consistent with Canadian law.
Open Studio 1 Instructor:
Derek Brueckner
CRITS: GROUP
CRITIQUES and INDIVIDUAL CRITIQUES
Group or Individual Critiques will become a very important
component in the student’s learning process for this course. The group critique
is loosely structured in a way that allows the class as a group to discuss and
build a consensus as to what each artist or art student's work is conveying to
the viewer (classroom audience). Not
attending a group critique is equivalent to missing a test – a letter grade for
participation will be deducted. The individual critique will involve an
intensive one on one consultation.
During a group critique usually the audience will view and
is required to speak first about the presented work. The artist who is
presenting work then responds to remarks made by classmates and may also
discuss ideas that were missed by their classroom peers. Usually group critiques
will last 10-20 minutes per student. Each critique will offer advice and
constructive criticism regarding such ideas as intent, level of formal and
conceptual content, context and overall professionalism. Critiques of work
(Group and Individual) will offer as many options as possible to strengthen the
artist’s/art student's work. There are many variables and possible solutions, a
person will be required to research, explore and investigate many options to
discover the applicable solution(s).
Due to the instructor having more experience within the
visual arts than the student group, at times the instructor will strongly
challenge the student group’s value systems, preconceived ideas and
interpretations regarding issues generated by the group and individual
critiques with the instructor.
Ultimately the purpose
of group critiques and individual critiques can be pared down into these
following points: generating ideas and new ways of thinking, creating a class
culture that has a positive but critically productive dialogue, and assists the
person to grow, expand and improve their work. As well the group critiques and
discussions are also about developing a person’s attention span and their
ability to focus on discussions.
Note that the presented work for group critiques will not be
given a final evaluation (grade) until the work is videotaped at the end of
each quarter. However it is still
extremely important and compulsory to have the work completed for group critiques.
Work that is not completed adequately for group critique will have an entire
letter grade deducted from any incomplete assignment. If you have any concerns
regarding amount of work required for group critique consult or contact
instructor well in advance of critique. Students are strongly encouraged to continue
to utilize comments from the group critiques and individual critiques with the
instructor. Following any critique, students will always be required to rework
and quite often significantly modify assignments outside of class until it is
time to videotape work. (See course syllabus for videotaping dates)
During the group critique students will be evaluated on your
class participation, this evaluation will be part of your overall class
participation grade. This class participation includes complete attention to
all discussions during crits, general
professional and respectful behavior, actively viewing work at a very close
range and offering comments. Due to the nature of most assignments, group crits
will be emphasized more for the latter part of the course.
Please keep in mind the instructor’s criticisms during
individual and group critiques is always intended to assist the artist/student
in improving their work. The ability to apply these criticisms is also firmly
connected to a student’s evaluation (grade) in the course.
Open Studio 1 Instructor:
Derek Brueckner
COURSE OUTLINE and Important Dates (continued)
Each assignment listed in the following course outline is
meant to operate as a guide. If students wish to deviate from any assignment’s
objectives they must consult instructor regarding their assignment’s new
parameters and get the instructor’s confirmation well in advance of the
project’s group critique deadline. General consultations as well should always
be made well in advance of the group critique for any assignment. Overall
assignments will always require an innovative resolution of implementing an art
practice in relation contemporary ideas.
Each given project should demonstrate unique combinations of multiple
disciplines and a sophisticated synthesis of formal (visual language) and
conceptual ideas (metaphorical/thematic content)
PART A of Course Jan 10 to Feb 14
45% All of Part A Course Assignments
5% Attendance and
Participation
Jan 10
Week 1: Course
Introduction and Dissemination of Course Syllabus
Dissemination of Information for Thematic /Multiple
Hybrids/Contemporary Art Assignment AND Thematic Wall to Thematic Floor
Assignment
Jan 17
Week 2: Group
Discussion/Presentation of:
Assignment
1. Thematic /Multiple Hybrids/Contemporary Art Assignment
Jan 24
Week 3:
Assignment
2. Thematic Wall to Thematic Floor Assignment
Jan 31 & Feb 7
Weeks 4 & 5:
Assignment
3. The Mind/Body Problem Assignment
Feb 14
Week 6: Portfolio
Submission
VIDEO TAPING of ALL PART A Course Work for Documentation
and Final Evaluation
Mon Feb 21 to Fri Feb 25
NO CLASSES MID-TERM BREAK
Open Studio 1 Instructor:
Derek Brueckner
COURSE OUTLINE and Important Dates (continued)
PART B of Course Feb 28 to Apr 4
45% All of Part A Course Assignments
5% Attendance and
Participation.
Feb 28 & Mar 7
Weeks 7 & 8:
Assignment 5. Dissolving the Modernist and Post-Modernist Dichotomy
**Mar 18 Last day for Voluntary Withdrawal (VW) from
winter courses
Mar 14 to Mar 28
Weeks 9 to 11:
Assignment
6. Cybrid and/or New Genres Assignment
Apr 4
Week 12: Portfolio
Submission
VIDEO TAPING of ALL PART B Course Work for Documentation
and Final Evaluation
NOTE: The above outline will most likely change due
to factors such as gallery visits or other unforeseen circumstances. It is each
student’s responsibility to be prepared for and cognizant of any potential
changes. These changes will always be communicated in advance during class
and/or sent by email.
SUGGESTED
TEXTS FOR POTENTIAL RESEARCH:
Books:
ARTSPEAK (Late 20th Century Art
Dictionary) by Robert Atkins
NEW MEDIA in ART by Michael Rush
Essays:
Sculpture in the Expanded Field by Rosalind
Krauss
Two Moments from the Post-Medium Condition by Rosalind
Krauss
Depending on
the characteristics and needs of a specific class, the preceding listings of
dates, assignments and readings in the course outline are subject to change.
An
Optional Reading List will also be posted on the JUMP site and course blog
** Depending on art exhibitions, art lectures and the
needs of a specific class, these listings of dates, assignments and readings in
the course outline are subject to change.
VIDEO TAPING of ALL PART B Course Work for Documentation
and Final Evaluation
ATTENDANCE:
Section 4.1 of the School of Art’s entry into The
University of Manitoba calendar reads:
“Letters of
warning may be issued for unexcused absences in excess of three for a course in
one term. Unexcused absences in excess of four for a course that meets
twice a week and five for a course that meets three times a week in one term
may result in suspension.”
Open Studio 1 Instructor:
Derek Brueckner
COURSE BREAKDOWN and GRADE
PERCENTAGES
As stated in the course outline
this is one term course that is divided into two parts (A & B). The course
dates and the percentage breakdown of the course parts are:
PART A of Course Jan 10 to Feb 14
45%
All of Part A Course Assignments
5% Attendance and Participation
PART B of Course Feb 28 to Apr 4
45%
All of Part A Course Assignments
5% Attendance and Participation
All in class assignments are
weighted according to the amount of days assignments are work on during class in
each quarter (if an exception occurs students will be informed).
PLAGIARISM and CHEATING
POLICY:
To plagiarize is to take ideas or words of
another person and pass them off as one’s own. In short, it is stealing
something intangible rather than an object. Obviously, it is not necessary to
state the source of well known or easily verifiable facts, but students are
expected to acknowledge the sources of ideas and expressions they use in their
written work, whether quoted directly or paraphrased.. This applies to
diagrams, statistical tables and the like, as well as to written material, and
materials or information from Internet sources. To provide adequate and correct
documentation is not only an indication of academic honesty but is also a courtesy,
which enables the reader to consult these sources with ease. Failure to do so
constitutes plagiarism. It will also be considered plagiarism and/or cheating
if a student submits a term paper written in whole or in part by someone other
than him/herself, or copies the answer or answers of another student in any
test, examination, or take-home assignment. Plagiarism or any other form of
cheating in examinations, or term tests (e.g., crib notes) is subject to
serious academic penalty (e.g. suspension or expulsion from the faculty or
university). A student found guilty of contributing to cheating in examinations
or term assignments is also subject to serious academic penalty.
Similarly, to copy a
part, parts, or to reproduce everything from an artist’s individual artwork and
pass them off as one’s own is also considered a form of plagiarism. When
completing assignments or presenting work done in self-directed studio art
projects, students should be avoiding this practice, since what is expected is
that you will originate the ‘look’ or ‘style’ of the work from your own responses
to the subject or ideas in question. To do otherwise, through the knowing use
of printed or internet reproductions of published artists work would be
academically dishonest, except in cases where to make a direct copy was a
requirement of the assignment by an instructor, or that your idea required such
a response. In those cases it is clear as to the intent to copy and is a public
aspect of the meaning of the work. This also includes
having one person do a drawing assignment for another.
EVALUATION (FACTORS
THAT DETERMINE GRADE)
Grades are
determined by a number of factors including:
(10% of
Course) Evaluation of Class Participation and Attendance:
·
Motivation,
initiative, seriousness of purpose including punctually arriving to
class with the required materials and required research that is applicable to
the assignment of that day.
·
Actively working during studio time and conducting
positive in class participation during group critiques and while working in
class on studio assignments.
·
The ability
to accept and apply criticisms
·
Punctual
attendance of all scheduled classes and during the entire scheduled class is
expected (See ATTENDANCE policy in
this syllabus p.8)
·
Students are
expected to work independently with regularity outside of class.
Open Studio 1 Instructor:
Derek Brueckner
EVALUATION (continued)
(90% of Course) Evaluation of Studio Work and
Assignments:
· The evaluation of course work (successful completion
of assignment objectives and presentation of all required assignments which
includes in class presentation during critiques and presentation during all work for video documentation. Work
will require applying criticism and thorough editing prior to videotaping. (See
course outline for videotaping dates)
·
A
demonstrated understanding of aesthetic issues specific to the studio work
·
The work and
its presentation demonstrates the ability to independently research relevant
current and historical issues and that research is applied to studio practice
·
An ability
to organize and express the synthesis of formal and conceptual ideas clearly in
the work and during the presentation of the work
·
A creative
and innovative application of concepts to the studio work
·
A
thoroughness of exploration and execution of the studio work
·
Work
demonstrates qualities of curiosity, experimentation, creative inventiveness
and innovation
·
Level of
overall versatility, sophistication and qualitative consistency in the studio
work including the improvement, editing and reworking of projects to the
applicable resolution of each assignment.
·
Overall work
demonstrates initiative and seriousness of purpose (professionalism)
·
The
assignments demonstrates required amount of work outside of class. (In addition
to regularly scheduled classes, students are expected to work independently
with regularity outside of class)
·
The work
demonstrates the acceptance and innovative application of criticisms
Video
Documentation: All related course work and assignments (including sketches and preliminary
work for projects) is required for video documentation to evaluate work.
Missing work will result in a zero
for an assignment or the grade will be
lowered by a full grade if preliminary work or studies are missing. Please
note that videotaping will occur during class time and absence during
videotaping is equivalent to missing a test or exam. See course outline for
specific dates for videotaping work.
In addition to regularly scheduled classes, students
are expected to work independently on homework with regularity outside of class.
Students desiring access to their progress in course
at any time during the course year may do so by appointment.
DUE DATES
FOR ALL WORK MUST BE MET- LATE WORK WILL NOT BE ACCEPTED. *
*Without a Physician’s certificate and/ or in special circumstances
The Letter
Grade System: Letter GPA
Grade Grade
A+ 4.5 Exceptional
A 4 – 4.4 Excellent
B+ 3.5 – 3.9 Very Good
B 3 – 3.4 Good
C+ 2.5 – 2.9 Satisfactory
C 2 – 2.4 Adequate
D 1 – 1.9 Marginal
F 0 – .9 Failure
The grade of ‘D’ is regarded as marginal in
most courses by all faculties and schools. It contributes to decreasing a
sessional or cumulative Grade Point Average to less than 2.0. The course in
which ‘D’ standing is obtained need not be repeated except by probationary
students in certain faculties or where a grade of ‘C+’ or better is required in
a prerequisite subject. It may be repeated for the purpose of improving a GPA.
Students in doubt as to the status of their record should consult an advisor in
their faculty or school. For minimum grade levels for each faculty or school,
especially as these affect progression requirements, see the faculty or school
regulations or consult an advisor.
Open Studio 1 Instructor:
Derek Brueckner
EVALUATION (continued)
Additional Information
Regarding Grades:
Students
may want to assess their assignments with the following guidelines before
submitting them to ensure you have done an excellent job of responding to the
specific criteria for the course. If an assignment is lacking in something, the
information below will assist in the revisions of the studio work prior to
presenting the work to your instructor for videotaping and final evaluation.
(See course outline for videotaping dates)
Grade of A or A+ (GPA of 4.0
to 4.5) Excellent to Exceptional: A thorough and thoughtful treatment of the
assignment presented consistently in an original, logical and convincing
manner. The “A” assignment has clearly articulated formal (visual literacy) and
conceptual ideas (philosophical/thematic content), which are innovative,
complex, and thoroughly researched. Generally the ”A” assignment demonstrates
an excellent level of research, versatility, criticality and a breadth of
formal and conceptual skill sets. All of the assignment’s objectives in terms
of quality and quantity are achieved in an excellent or exceptional manner. In
addition to demonstrating the assignment objectives often an ”A” work offers
supplementary strengths as an excellent example of contemporary art and or takes
the work beyond the assignment’s objectives.
Grade of B or B+ (GPA of 3.0
to 3.9) Good to Very Good: This is a good or very good assignment in most ways, but it is
generally less thoughtful than an “A” work. Often “B” assignments are those
that mostly repeat what the instructor and the readings have taught, and do so
in a way that makes it apparent that the student understands the concepts and
objectives, but does not add much to them. The B assignment may be less
sophisticated than an “A” assignment, but the “B” is still reasonably competent
and conveys ideas and concepts to the viewer. At times the B assignment may
offer some innovation but simultaneously may be missing some the assignment’s
objectives. Generally in the B assignment, the assignment objectives are
achieved in a less sophisticated and innovative manner than the A assignment in
terms of formal (visual literacy) and conceptual ideas (philosophical/thematic
content).
Grade of C or C+ (GPA of 2.0
to 2.9) Adequate to Satisfactory): An assignment that shows an understanding of most
concepts and objectives involved in the assignment, but does not treat it
thoroughly or does not synthesize the assignment into an entirely clear manner.
In the C assignment the ideas are visually and or conceptually vague and may
appear to be contradictory, or visually noisy or confused. Strong effort by a
student may be given for a C assignment, but the work struggles to convey the
assignment objectives in terms of demonstrating visual literacy and/or
conceptual ideas in the work.
Grade of D (GPA of 1.0 to
1.9) Marginal:
Seriously flawed. The assignment neither demonstrates an understanding of the
material nor articulates any coherent ideas or concepts. The assignment might
wander among several ideas with out developing any single one. There is no
focus in this kind of work. Often a D assignment will be presented as
incomplete or unfinished. In a “D” assignment a student might rely on others’
work rather than developing her/his ideas. The instructor might wonder if the
student tried at all.
Grade of F (GPA of 0 to 0.9) Failure: Little redemptive value
appears in “F” work. The assignment fails to address the assignment in
fundamental ways. There is no real answer to any of the problems posed by the
assignment, and there is no real engagement in the topic in any way. The work
often fails to be coherent at all and demonstrates no effort or any of the
objectives. Generally the student who receives an F on their assignment does
very little of the required work, nor utilizes criticism, and often their
classroom attendance is in violation of university policy.
If
there are any questions or comments regarding the above grading criteria feel
free to talk to the instructor during class, or schedule a meeting outside of
class.
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