Recently in Self syllabus Category

Jim Hittinger, Week 2, Self Syllabus

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Self Syllabus, Version 1.0:

Open space
Atmosphere and weather - strange light, fog, snow, near-darkness
Maps- sense of place
Obscured visual information - blurs, barriers, windows, reflections
Horror movies
Black metal album covers
Small towns
Ghost towns

Will Lakey - week two - Self Syllabus

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Self Syllabus

Site specific wall drawings

Egon Schiele
Douglas Gordon
Horst Janssen
Peter Doig
Susan Turcot
Hiroshi Yoshida

Oil paint
Galkyd medium
White/Mineral spirits

Handmade paper
Used envelopes
Primed cereal packets
Used printer paper

Newspaper clippings
My own photographs
My own face

Arthur C Danto
Walter Benjamin
Susan Sontag
Gen Doy
Roland Barthes
Richard Wollheim

Patrick O'Brian
Charles Dickens
Tom Clancy
Phillip K Dick (although he always leaves me feeling melancholy)
Terry Pratchett
Iain M. Banks
Isaac Asimov

DIY furniture projects
Mending stuff
Shooting (25-1000yd targets/clay pigeons/deer hunting)
Reading (although I don't have so much time to read these days so to escape I now mostly watch movies)
Movies (action/adventure/comedy/sci-fi/rom-com)
& TV (Dexter/Star Trek (TNG/Voyager)/21 Jump Street/King of the Hill....)
To really relax I need to spend time with Amanda.

Erin Paradis- Week 2 self syllabus, context

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Self Syllabus

List One
1 history
2 travel
3 industry
4 worn
5 music
6 research
7 structures
8 artistic growth
9 personal growth
10 memory
11 geometric shapes
12 inspiration

List two
1 -My past and how I came to be who I am through my experiences.
-History in the buildings that become a part of my daily life and what types of feelings that I get from them. How does that inform my daily story?
-History in the sense of seeing the physical ware and use of these structures that I become fascinated with.
2 -Traveling abroad and witnessing the expansive history that has lived in one country.
-Traveling with in the US and relocating to 4 different states in the last 4 years. How has that shaped me and my work? How does each city transform my collected imagery which then reflects in my work?
3 -Industrial scenes intrigue me not so much for the product that is made their but the machinery and buildings that are used to make those products. Industrial sites have shapes and that are different than those shapes that would be in other structures. These shapes create interesting new imagery.
-The collected images of the spaces transfer into simplified drawings
4 -rugged, weather, layering, use, being lived in/lived with
5 -music in my own studio propelling my studio practice
-shows; experience of live music and seeing artists that have inspired you in your studio and in life
-podcasts, listening to stories
6 -past ceramic artists
-contemporary ceramic artists
-readings on psychological affects of architecture
-compiling recipes for clays, glazes, ceramic materials
7 -buildings themselves and how they function as a structure; what's their purpose, what was their purpose
8 -seeing my own artistic growth and getting excited about it and starting to visualize its evolution, which then propels my work to grow even more
9 -seeing who I was in the different cities I've lived in and where I've come personally; has each place made that happen or would that have happened if I stayed in one town?
10 -memory of lives lived in buildings
-memory of myself around those buildings
11 -simplification, basics, yet have a "weight" to them when they are simplified in my drawings
12 -inspiration from experiences and how that excitement might move my work or slow it down


There are definite periods of rapid progressions in my ceramic work and other periods of slower moving development. Much of the progression has to do with my frequent travel. I take imagery from these travels and the spaces I live in to inform my work. I am intrigued with how the spaces affect me not just artistically but personally and how each new place aids in my development and growth in these two ways.
I use a series of tools and steps to get to my finished results. Through travel, documentation, printing, xeroxing, drawing, and painting, I achieve an image that then informs my ceramic work. From there, slab, coil, or thrown processes give me the surface I want to then decorate on. I use multiple methods and materials to achieve the surface I desire on my work.

Self Syllabus

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Fabrication of memories
My mother
Our relationship to space and where I belong in it.
Duane Michals
Sophie Calle
Elinor Carucci
Alec Soth
Francesca Woodman
Diane Arbus
Todd Hido
john baldessari
Miranda July
Philip Lorca Dicorcia
And other stuff.

Self Syllabus:


The Deer Hunter
Some Like It Hot
Barton Fink
Back to the Future
Pump Up The Volume
Bill & Ted's Excellent Adventure
Teenage Mutant Ninja Turtles (live action movie)
Walden or Diaries, Notes and Sketches


Edward Hopper
Mark Rothko
Bill Viola


The Craftsman by Richard Sennett
The Spirit of Disobedience by Curtis White
Trickster Makes This World by Lewis Hyde
You Are Not a Gadget by Jaron Lanier
The Uses of Enchantment by Bruno Bettelheim
War and Peace by Leo Tolstoy
Stranger in a Strange Land by Robert Heinlein
Collected Poems by Wallace Stevens


The Talking Heads
They Might Be Giants
Jurassic 5
Thelonious Monk
Ahmad Jamal

180-Word Museum Label:

Bachelor Pad - Season 3

Reality Television Series - High Definition Digital Video
90 minutes per episode

Bachelor Pad is serialized multidisciplinary performance artwork produced and presented for a network television audience, drawing heavily upon the modernist dramatic traditions of Bertolt Brecht's Theatre of Alienation and Antonin Arnaud's Theatre of Cruelty.

Participants in the show, with full knowledge of previous incarnations of related reality programs The Bachelor and The Bachelorette, move into a mansion together, where they compete, collude, and copulate with one another to avoid being eliminated from the competition before claiming a cash prize of $250,000.

In part a sociological experiment that plumbs the depths of the dark side of human nature wracked by the temptations of sex, alcohol and money, and in part an exploration of the problematic nature of representing "reality" in a heavily mediated culture, wherein participants are encouraged to "be themselves" under the disembodied gaze of the program's authorship - comprised of numerous invisible camera operators, sound recorders, lighting designers, directors and producers - Bachelor Pad is an exquisite cultural artifact of the early 21st century, at the pinnacle of the reality television genre.

Context & Intention:

I have been working with video since I was 14 years old. I went to a very classical Hollywood-style film program at USC, and set off after college to make mainstream narrative feature-length fiction films. However I found the whole "film industry" production process extremely tedious - both in its large-budget Hollywood incarnation and in the more intimate but essentially identical "independent" mode.

So, I began to explore a wide range of approaches to film and video, and found immense satisfaction in hand-processing 16mm film and creating live-feed performance and installation video elements.

I decided to apply to this MFA program because I feel a strong need for structure, mentorship and community in order to move forward with my practice as an artist.

Mara Duvra

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Self Syllabus

Jane Eyre, Dario Marianelli (2011, soundtrack)
Upper Air, Bowerbirds
Fleet Foxes
To Build a Home, Cinematic Orchestra
The Middle East

Sylvia Plath
Emily Dickinson
The Yellow Wallpaper, Charlotte Perkins Gilman
Inside the Painter's Studio, Joe Fig
Nets by Jen Bervin

Kiki Smith
Judy Pfaff
Jenny Morgan
Falling Angels, Jiri Kylian (1989, choreographed dance)
Francesca Woodman


TV , Film & Internet
Jane Eyre, Cary Fukunaga (2011, film)
Art:21 Art in the Twenty-first Century Systems: Julie Mehretu (2009)
Romance: Judy Pfaff (2007)
Stories: Kiki Smith (2003)
The Gentlewoman (blog)
Woolgathersome (blog)

Context for practice
My practice has many influences. I am interested in the voice and perspective female authors such as Sylvia Plath, Emily Dickinson, and Charlotte Perkins Gilman. Music plays a large part in my creativity and I like the feeling I have when a song swells and soars, I like to be swept away by a song or a line of prose. I am interested in creating work that come together to distill these layered interest into one cohesive form. Currently my work is focused on combining printmaking and photography. Within both of these practices there is a tactile process of working that I truly enjoy. I like both the organic nature of making a print; rolling out ink, soaking paper and the physicality of pulling a print through the press. Photography offers a slightly more removed technical nature but it the immediacy of the imagery and the clarity of the idea that I find most attractive about this medium. My work is almost like a stream of consciousness constantly influenced by whatever music, films, or text I am engrossed in. In my titles there is a narrative quality that I feel adds another layer of context for viewers to consider when looking at my prints. I am interested in the poetry and psychology of the female figure and ideas if anonymity. In my work there is a creation of a sensuous portrait in the hopes of creating a feeling of the work before an intellectual understanding.

I never thought living alone would feel like this. This place is unfamiliar, ominous even. I stand at the precipice feeling forever stuck just on the cusp. I make every attempt to avoid it even though at the end of the day I long for its stability and warmth. This new space is not truly a home and in moments I long for the real thing, but that has been cut off, displaced. This sensation wells up in me and I feel for a moment I am back and I will turn the corner and walk in the door and at any moment I will hear the familiar sounds of life. Here the silence blares only interrupted by the occasional creak or mechanic hum. So on each passing night I linger and wander until the inevitable hour arrives. I slowly move forward step after step thinking about what awaits, chiding myself. In moments of guilt I say a prayer of thanks for this place, because this is the place I call home and without it this sentiment would be replaced with a different kind of longing.

Josh: Self Syllabus

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Everyday objects
Obsolete technology

Craft vs Fine Art (avant garde?)
References to Art History
Nothing specific

Gender Roles
Personal Reaction
Early Experiences
Immediate Environments

Anton Heyboer
Bruce Nauman
Joseph Beuys
Mike Kelley
John Baldessari
Alberto Burri
Max Beckmann
Carroll Cassill
Shiko Munakata
Gerhard Richter
Mark Dion
Matthew Barney
Ann Hamilton
Monica Kulicka
Francisco Goya
Neo Rauch

Emily, Week 2: Self-syllabus

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Primary Resources:
Places Journal
New York Times
Public Art Review

Primary Influences:
The Mississippi River
My hands, my sketchbook
Creative innovation
Potluck Dinners
Gordon Matta-Clark
Isamu Noguchi's playscapes
Bell Labs
John Cage/Merce Cunningham/Chance operations
Ann Hamilton
The Chaumont Garden Festival
Buckminster Fuller
Claude Cormier
Millennium Park
Robert Irwin

Chris Groth Week 2

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I am an artist who likes to make, think, tinker and wonder. The focus of my Art is rooted in materials, methods and techniques of making. Utilizing a myriad of processes to manipulate materials is at the core of what I explore. The variety of methods I use to create Art are as influential as my subjects. I am constantly working to understand my perceptions of the world around me by searching for details which hearken back to childhood discoveries. My Art involves interpreting an idea or experience and presenting it in an elemental fashion.


The purpose of following this course and this program are just one part of the path I have chosen in my life as a human and an artist. I will immerse myself in the rich environment that is 8400 and the MFA program, all the while I will be absorbing, thinking, reflecting, connecting, and making. I will build upon my current skill set and refine my ability to navigate this environment. I will absorb new theories, artists, histories, processes, materials, and the many other experiences which I will encounter. I will evolve my own thought processes, as well as my ability to reflect on them. I will nurture new connections with artists, organizations, and others with interest similar to mine. I will make, create, and manifest my emotions, thoughts and reactions throughout the entire process.


Mold Stamp

A mold stamp is a tool used to apply signage to a particular mold or set of molds. It is a handled die with a positive image affixed. When hammered into molding materials a negative of the die image will result, marking that mold as one of a specific vein. My particular stamp is designed with a four inch handle and two inch image plate. My stamp is not realized yet. That is, I have only made a mold of my mold stamp. Carved into sand as a three dimensional negative, my mold stamp is now manifest in the form for which it has been created. The image carved into the die half of this mold is the negative space I will translate into all of my future molds. It is not an image which will appear on the physical work. Instead it is only meant to adorn the mold, the form in which my work will be shaped. The ritual of stamping a mold may be likened to a print maker signing a proof bon à tirer. It is a show of approval or acknowledgement of progress.


chutney, cheese curds, charcoal grill, canning, beer, hot sauce, curry, brats with sauerkraut and beans, fresh tomatoes and basil, gardening, fishing, pizza, coffee, trail mix, tapas, pickled eggs/veggies,

Cooks Illustrated
Toilets of the World
Art in Theory- Harrison, Wood
The Wind and The Willows
July's People
Catalouges (McMaster Carr...)
Humble Masterpieces: Everyday Marvels of Design



This American Life
The Moth
Howstuff works

hot glue, plaster, cellophane, paper, iron, aluminum, receipt paper, wire, cedar, glass, fabric, cloth, string, charcoal, photosensitive paper, tape, tool dip, paint, chalk, sand, bronze,

welding, drilling, casting, cooking, molding, grilling, printing, carving, building, felting, forging, baking, slicing, modeling, sketching, cleaning,


da UP
braais- south african bbqs
new places

Some objects I love
staplers, scissors, tools, brayers, fans, clamps, nuts, bolts, almost anything I am not sure what it is or what its used for, jars,

I am fascinated by materials. What are its characteristics? Where is it from? What can/can't it do? What is its history?

I often think of the religious and spiritual tradition of my family and where I am in relation.

I ask myself many questions, most of which I don't answer. Often I don't try to answer them.

Beth, Week 2, A self-syllabus draft, random and unedited

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Samuel Beckett
- Krapp's Last Tape (A late evening in the future.)
- Waiting for Godot (A country road. A tree. Evening.)
- Endgame (Bare interior. Grey light.)
Raymond Chandler
Sinclair Lewis
Ralph Waldo Emerson
Vita Sackville-West (The Garden, 1946)

Working on it

Nick Cave
Cabaret Voltaire
Joy Division
Antony & the Johnsons
Blitzen Trapper
Led Zeppelin
The Staples
Earth, WInd, & Fire
Whatever makes me dance

Working on it

Richard Wentworth
Tacita Dean ("The Russian Ending", 2001)
Madame Yevonde ("The Goddesses", 1935)
John Davies ("Agecroft Power Station, Salford", 1983)
Goerge Cruikshank cartoons
This list will be long

Sissinghurst Castle Garden
Levens Hall
Westminster Abbey
Lacock Abbey
The Roman Forum
The Washington Monument
The Badlands, South Dakota

Gallileo's middle finger (The Museum of the History of Science, Florence)
Camera obscura at Edinburgh Castle
Someone die
Someone born

Silver pendant, "Puolikuu", by Tapio Wirkkala, Finland, 1971
My book and photo collections

Constructivist graphics
Dada photomontages
Winslow Health and Hygiene charts
Clumsily retouched vintage photographs
Graphs and diagrams without their context

Grand gestures
Word play
Dark humor
Rose and violet créme chocolates from Prestat, Princes Arcade, London