When Viewing Examples of Student Work:

Often a single example of work may not demonstrate all the required objectives for a particular assignment. Instead students should collectively consider: the required objectives for each assignment, the multiple examples presented on this blog and during in class presentations. As well ideas discovered through a student's independent research in combination with various examples and ideas presented by instructor will ultimately be the best approach for synthesizing ideas and reaching the requirements (and unique outcome) for any particular course project.

Wednesday, September 1, 2010

Drawing: Studio 1 COURSE SYLLABUS Fall 2010


STDO 1210    Drawing: Studio 1    •  3 credit hours  

University of Manitoba, School Art 
Instructor: Derek Brueckner
Instructor’s Office: 312 Fitzgerald Building

TELEPHONE:                     474 – 9549 (Instructor’s Office)
EMAIL:                                 brueckne@cc.umanitoba.ca

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: Wednesdays 8:30 am to 11:20 am

Estimate hours of out-of-class work per week: 3 to 6 hours minimum per week

Majority of assignments and 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 daily 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 Fundamentals of Drawing course supply list is fairly extensive and costs will vary depending on what students choose to purchase in terms of the optional 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. 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.

Students are introduced to key concepts and competencies used in contemporary drawing practice. Prerequisite for further study in fine arts studio courses. May not be held with STDO 1200 (054.120).

The purpose of this course is to introduce students to key concepts and competencies used in contemporary drawing practice. Course outcomes encourage the development of traditional and experimental (contemporary) approaches across a broad range of concerns, including but not limited to visualization, composition, observation, materiality, the subject, expression, concept and content. In addition to these issues PART B of this course will also emphasize the exploration of current ideas and aesthetic concerns; cultural and personal concepts; and analytical and intuitive creative approaches with an emphasis on creative, visually literate, conceptually informed and innovative self – expression. See pages 5 to 7 in course outline for further details regarding parts A and B of this course.  PART B will also give greater emphasis on broadening thematic content, aesthetics and materials in relation to contemporary art. The majority of this course will emphasize drawing as a process that conveys ideas synthesizing formal and conceptual content. This course and other 1st year courses here at the School of Art are preparation for intermediate and senior studio courses.

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Drawing: Studio 1                                                                 Instructor: Derek Brueckner

In addition to the daily process of drawing, 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, historical and 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 drawing 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 and in particular during PART B of the 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 and in particular during the course’s PART B section. 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” pictures) 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.

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 both terms. 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 and in particular PART B section of course students will focus on pursuing personalized innovative drawing 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. Hand made drawings processes are emphasized on various 2D surfaces and occasionally may consider drawing in relation to digital media, 3D, 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.

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Drawing: Studio 1                                                                 Instructor: Derek Brueckner

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 drawing styles, colour and mark making 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 considerations of shapes and lines (organic and geometric) will be considered in relation to thematic content
·       Space in relation to volumes and planes (atmospheric perspective, representational and abstracted space) will be considered in relation to thematic content
·       Tone, light, shadow (shading) in relation to innovative thematic content
·       Value (comprehending broad ranges of grayscale and translating colour into grayscale) 
·       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 drawing, and other materials.
·       Drawing in relation to current ideas, drawing materials in combination with non-traditional drawing materials, and/or non-euro centric ideas (i.e.: technology, installation, performance, or current issues)

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/
For additional information, visit  http://umanitoba.ca/computing/ist/
Students without personal computers can use computers in Information Services and Technology labs in a variety of locations on campus including the Dafoe Library.
For forwarding U of M emails to another email account 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' button

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.

Cell phones and other electronic devices must be turned off during class time. This also includes no text messaging during class time. 

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Drawing: Studio 1                                                                 Instructor: Derek Brueckner

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.

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Drawing: Studio 1                                                                 Instructor: Derek Brueckner

COURSE OUTLINE and Important Dates 
PART A of Course   Sept 15 to Oct 20
45% All of Part A Course Assignments
5% Attendance and Participation

Sept 15 
Week 1: Course Introduction and Dissemination of Course Syllabus 
Dissemination of Information for Cliché/ Thematic/ Contemporary Art Assignment and
Thematic Still – Life: Emotive Observational Drawing Assignment

Content for Sept 15 to Oct 6: 
Traditional black and white drawing materials to be explored primarily in the following order: Graphite pencils, graphite sticks, erasers, black & white conte, black & white oil pastel, vine with white chalk, and India ink, felt pens with white acrylic.
Thematic content will be introduced and researched by student.  Students will be expected to continually synthesize thematic content (concepts) in relation to formal assignment objectives through out the course.

General Objectives of Assignments:
Black and White Atmospheric Perspective: The strategic use in contrast of light & dark tones /lack of contrast in tones, hard edges/ soft (or blurred) edges of forms, and clarity of surfaces & planes in relation to space. 
Comprehensive explorations of figure ground relationships and concepts will be explored through various mediums involving flexible additive and subtractive layering processes.
Collectively the tone, light and shadow drawings will be required to demonstrate a variety of surface qualities in subject matter such as reflective, transparent, soft and hard textured surfaces  

Continuation of Daily Schedule:
Sept 22
Week 2: Group discussion/Presentation of: 
            Assignment 1. Cliché/ Thematic/ Contemporary Art Assignment

Sept 29
Week 3: 
            Assignment 2. Thematic Still – Life: Emotive Observational Drawing in B and W Mediums

Oct 6
Week 4:
            Assignment 3. Thematic Interior/Exterior: Emotive Observational Drawing in 
            B and W  Mediums 

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Drawing: Studio 1                                                                 Instructor: Derek Brueckner

COURSE OUTLINE and Important Dates (continued)
PART A of Course (continued) Sept 15 to Oct 20
45% All of Part A Course Assignments
5% Attendance and Participation

Oct 13 
Weeks 5:
            Assignment 4. Blindfold Drawing in Colour and or B and W  Mediums             http://derekbruecknercourseinformation.blogspot.com/2009/12/blind-fold-drawing.html

Oct 20
Week 6: Portfolio Submission
VIDEO TAPING of ALL PART A Course Work for Documentation and Final Evaluation

PART B of Course    Oct 27 to Dec 8
45% All of Part A Course Assignments
5% Attendance and Participation

Content for Oct 27 to Nov 10: 
Materials: oil bars, oil pastels or chalk pastels with the option of combining acrylic paint or watercolor with pastels Colours should include: double primary (warm & cool), secondary colours, white and brown (Note: using low quality materials may cause problems that may result in a low grade on assignments) 

General Objectives of Assignments:
Colour processes of observational drawing, representational space (atmospheric perspective) and abstraction will be explored in relation to a sophisticated mixing of colour, compositional elements, language of materials and conceptual emotive expression
For most assignments, whether a work has technological or hand made elements, the goal is to obtain a simultaneous presentation of variety, visual innovation and unity in the picture plane, which at times may involve a more intuitive working process.  The work could include representational elements using imagery and sensibilities from a broad range of cultural contexts (such as in the Eclectic/Pluralist Assignment) or elements of pure abstraction (such as in the Blindfold and Pure Abstraction/Modernist Assignments) The Eclectic/Pluralist Assignment will anticipate potential thematic imagery and concepts.

Oct 27
Week 7: Assignment 5. Pure Abstraction/Modernist Drawing in Colour Mediums   (weighted as two days)
Nov 3 & 10
Weeks 8 and 9:
Assignment 6. Eclectic/Pluralist Project in Colour Mediums

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Drawing: Studio 1                                                                 Instructor: Derek Brueckner

PART B of Course    Oct 27 to Dec 8 (continued)
45% All of Part A Course Assignments
5% Attendance and Participation

Content for Nov 17 to Dec 1: 
This assignment will offer choices that require the student to address a culmination of ideas disseminated from this course. 

General Objectives of Assignments:
The following project requires synthesizing formal and conceptual thematic content in relation to contemporary art. Ideally projects should address contemporary ideas and be crafted technically and conceptually as a work of contemporary visual art.

Nov 17  **Last day for VW from fall courses without penalty
Week 10:
Assignment 7. Drawing in the Expanded Field Diagram in Colour and or B & W  Mediums
Suggested Essay Readings:
Roland Barthes Antithesis and Rosalind Krauss Sculpture in the Expanded Field

Nov 24 & Dec 1
Weeks 11 & 12:
Assignment 8. Drawing in the Expanded Field Project in Colour and or B & W  Mediums

Dec 8
Week 13: 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.                                 

Readings will be given and class discussion and participation will be expected.
Excerpts from Art Fundamentals by Otto Ocvirk, Robert Stinson, Phillip Wigg and Robert Bone, Search for the Real by Hans Hofmann, 
ARTSPOKE by Robert Atkins and ARTSPEAK (Late 20th Century Art Dictionary) by Robert Atkins  

Modernist Painting by Clement Greenberg and The Flatbed Picture Plane by Leo Steinberg
Sculpture in the Expanded Field 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.

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Drawing: Studio 1                                                                 Instructor: Derek Brueckner

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)

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.

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    Sept 15 to Oct 20
45% All of Part A Course Assignments
5% Attendance and Participation

PART B of Course    Oct 27 to Dec 8
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). Each of the homework assignments are weighted as specific day amounts (see course outline and/or assignment information for details)

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.”

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.

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Drawing: Studio 1                                                                 Instructor: Derek Brueckner

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.

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.

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.

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Drawing: 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.

*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.

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Drawing: 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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