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The fall 2006 edition of the emporia state university art student handbook. It provides contact information for faculty members, staff, and student organizations in the department of art. The handbook also outlines various resources and opportunities available to art students, including funding sources, scholarships, and student organizations.
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Handbook
Contact Information
Contact Information
Mary Noll, (Senior Administrative Assistant) mnoll 5247 Student Secretary artuser 5246 Eric Conrad, MFA, Rhode Island School of Design econrad 5687 Matt Derezinski, MFA, Kansas State University mderezin 5826 Roberta Eichenberg, MFA, Ohio State University reichenb 5571 John Hasegawa, MFA, University of Oregon jhasegaw 5696 Elaine Henry, Chair, MFA, U. of Illinois at Carbondale henry 5246 Dan Kirchhefer, MFA, University of Kansas dkirchhe 5694 Monica Kjellman-Chapin, Ph.D., Boston University mkjellma 5699 Lily Liu, MFA, Kent State University lliu 5696 Patrick Martin, MFA, Tulane University pmartin 5692 Deborah Maxwell, MA, Emporia State University dmaxwell 5246 Sue McKinney, MSE, Emporia State Univeristy smckinne 5246 Susan Nakao, Ph.D., University of Missouri snakao 5682 Ann Piper, MFA, New Mexico State University apiper 5691 Fletcher Russell, MFA, University of Arkansas frussell 5246 Larry Schwarm, MFA, University of Kansas lschwarm 5690
Art Annex 5249 Gallery and Visual Resource Library 5689
Department of Art..........................................www.emporia.edu/art Assessment Page.......................................www.emporia.edu/asem/ Financial Aid..............................................www.emporia.edu/finaid 48
Based on publications fromBased on publications from:
University of Wisconsin, Eau Claire
Central Missouri State University
Scholarships
Scholarships
Scholarship amounts vary from year to year but are generally be- tween $200 and $1000 each. To qualify you must be a new student intending to enroll as an art major for the following fall. These scholarships are awarded on the basis of artistic achievement. You may also apply for academic scholarships, which have different re- quirements and application dates, through the Financial Aid Offi ce. Students maintaining a GPA of 3.25 or higher will also receive a scholarship award through the Presidential Scholarships.
Scholarships are awarded on the basis of portfolios submitted by prospective students. Each applicant must submit a slide or cd port- folio of ten images, each showing a different work. At least three of the slides must be of drawings and at least one of the slides must be of a three-dimensional work. Each slide must be labeled with the following information: your name, medium and size. Conact the chair of the Department of Art for exceptions to the guidelines. It is to your benefi t to present your work with the best slides pos- sible. Ask your art teacher for suggestions of photographing your artwork (for more information see the ESU Art webpage listed on the Contact Information page in back). Send your portfolio and support materials to: Scholarship Committee Department of Art Campus Box 4015 Emporia State University Emporia, KS 66801-
Many continuing art student scholarships are awarded to students in the spring semester to acknowledge their accomplishments. Continuing art students with a cumulative GPA of 3.25 or better will receive academic scholarships are designated for students concen- trating in glass or sculpture and for those students planning to teach art at the secondary level.
Each spring, an Outstanding Senior Award is given to a graduat- ing senior. This award is based upon quality of art work, senior exhibition, service to the department and the university, grade point average.
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Introduction Introduction
Frequently, by the time an undergraduate reaches oneʼs Senior year, theyʼve collected a mass of information they wish they had been given earlier. “If I knew then what I know now...” is usually how it goes.
As your Student Advisory Board, we are constantly on the look-out for ways in which we can improve the experience of the art student at Emporia State. Our fi rst iniative is to provide you with this infor- mation so you may hit the ground running.
Included in this edition, you will fi nd tips for studying for your classes, generating ideas for your artwork, and a comprehensive section that will give you extremely valuable information on how to safely work in not only the studios on campus, but your own studios as well.
In addition, you will also fi nd a collection of heads-up info on topics such as how one acquires a late pass, what goes into the mid-pro- gram portfolio review and how to make the most of your time with your advisor.
Hang onto this book. Even the upperclassman will fi nd information they did not know within it. Working through your post-secondary education can be a confusing experience, and we hope this book makes it a little easier.
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Grading Standards
Grading Standards
A:
B:
C:
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WeldingWelding: dangers include, electric shock, molten metal burns, in-^ Art Health & Safety frared radiation burns (eye damage, “sunburn” and possible skin cancer from chronic exposure), acetylene torch burns, equipment explosions (building leveling).
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Art Forum
Art Forum
Art Forum is a weekly visiting artist program, held each Wednesday from 3:00-3:50 pm during every semester. It is required for all art majors every semester that you are majoring in art. The purpose of Art Forum is to expand the exposure of art majors to the work of active professional artists, and to help students to gain an under- standing of the artistsʼ personal references, thinking processes, and methods of working.
Students are expected to attend class each week, stay awake, and when appropriate, participate in discussions.
Art Forum is taught on a pass/fail basis. There is no outside work expected of you.
Attendance is mandatory at each class. You will be allowed three unexcused absences. If you have a fourth unexcused absence, it will result in a “U.” Falling asleep during class will be counted as an ab- sence. Signing in and leaving will be considered cheating. Leaving before the end of class will also be considered an absence.
If unable to attend class for some reason, you may make up the class session by attending a gallery exhibition or visiting an art museum. If you do this, it will be necessary to bring an exhibition notice to the instructor, and be prepared to answer a few questions regarding the exhibition attended, or you may write a one-page report on the exhibition.
Art Forum is a privilege for our students, our faculty, the university and the community. It is made possible by funding from the Depart- (^6) ment of Art and the ESU Visual Arts Board.
cause strong respiratory problems ( for example red wood saw dust^ Art Health & Safety can cause sudden acute illness similar to pneumonia). Hardwood saw dust has been shown to be particularly unhealthy (cancer caus- ing with chronic exposure).
Plastics: do not work with any plastic in any way before reading in detail about the health concerns for that material. Some of the main concerns:
AcrylicsAcrylics: requires professional local ventilation for casting, cutting, drilling and use of any acrylic glue or solvent. Casting catalyst must not touch skin. Splashing in eyes causes blindness.
Polyester Resins (fi ber glass)Polyester Resins (fi ber glass): avoid using, can not be worked with safely in a school setting. Fumes toxic, materials pass through plas- tic or rubberized gloves. Adequate ventilation systems are not avail- able in school settings. Catalyst must not contact skin. Splashing in eyes causes blindness.
Epoxy ResinsEpoxy Resins: similar to polyester resins.
PolyurethanesPolyurethanes: Avoid use. Never use in a school setting. Never burn or chemically decompose.
Vinyl Polymers (PVC, PVA)Vinyl Polymers (PVC, PVA): used for vacuum forming. Do not over heat. Use local ventilation. Never burn or chemically decompose.
PolystyrenePolystyrene (includes(includes Styrofoam)Styrofoam): polystyrene sheets used for vacuum forming; do not over heat. Do not heat, burn or chemically decompose styrene materials especially Styrofoam.
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Art Health & Safety
For all power tool operationFor all power tool operation: eye and face protection, long hair tied completely and securely out of the way, no loose clothing, arm, neck and hand protection, proper shoes, ear protection for loud tools, dust mask for all dust producing operations. Be sure to know and follow the complete professional requirements for each type of tool used. Do not rely on “homespun” instruction or examples.
Stone workingStone working: protection from dust (silica, asbestos), fl ying chips (eyes, face, neck, arms, hands, body in general) and sound from tools. Vibration from tools can cause chronic or permanent hand damage. Heavy stones present crush hazards, particularly for the hands and feet.
Plaster: take care not to inhale dust when mixing. Do not get in con- tact with hands: use Vaseline or rubber gloves. Do not use for cast- ing body parts, can cause severe burns. Do not use with children, use Plaster of Paris designed for use with children. Do not let children mix it: the teacher must do this with a dust mask.
ClayClay: see section on ceramics.
Wax: natural waxes are in themselves safe, but never heat with an open fl ame or exposed electrical element. Heat only to lowest temperature to melt. Overheated wax decomposes into highly toxic fumes.
Wood: working with wood can be the cause of chronic and even acute health problems. If breathed in, many types of sawdust can
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Assessment Assessment
Art Education Student Assessment
Art education major students are assessed each fall semester utiliz- ing the criteria listed below. Faculty will be informed of the art education major student list by the department Chair after mid-term examinations during the fall semester. Faculty members who have had the student in classes during either the prior spring semester or current fall semester have the option to complete this form.
Students receiving concerns as stated on these forms will be asked to meet individually with faculty members of the Art Education Committee at the beginning of the following semester. During the meeting, each student will be informed of the concerns and will be given an opportunity to respond.
Faculty members will be asked to reassess these students during the same spring semester. Early in the subsequent semester, these stu- dents will again be asked to meet with the Art Education Committee to review progress.
In addition to this annual assessment process, each art education student will be formally evaluated by members of the Art Education Committee prior to admission to both Phase I and Phase II of the Teacher Education Program. Art Education Committee members, along with the Chair of the Department of Art, with input from all of the art faculty, will make the fi nal decision regarding admission to both phases.
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Art Health & Safety
Metals/Jewelry/Enameling
Glass
ClothingClothing
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Assessment
(^) ments, styles, and the work of individual artists and ideas, have af-ff- fected the studentʼs approach to his/her own work and its content.
Again, this process is intended to help the student as well as the faculty. Think of it as a positive constructive experience.
Student evaluations of each course Student surveys Senior exit interviews Student Advisory Board (see details in this handbook)
All Art Education majors (BSE) must complete the PPST before Phase I. All other students must complete the CAAP test before graduating (see Contact Information for website).
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tions can lead to wrist problems over time.^ Art Health & Safety
Fiber Arts
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Senior Exhibition
Exhibition
Upon graduating, it is recommended that seniors have an art exhibi- tion. It is not required, and does not have to be held at Emporia State University, however the Gilson room in King Hall will be avail- able throughout the school year. Contact the gallery director, Larry Schwarm, to reserve the room; it must be reserved one year in ad- vance. Students can exhibit alone, but it is likely, due to the amount of graduating seniors, that students will be paired. The exhibition usually opens on a Tuesday allowing only the weekend and Monday for set up. Students exhibiting are entirely responsible for putting up and taking down work, they MUST leave the room in the condi- tion they found it. Students can use the gallery facilities to matte and frame work; the gallery can furnish basic frames and stands. The artwork choice is completely up to the student, however consul- tation with a major professor is recommended. A gallery opening or closing, and invitations are optional.
A juried Student Exhibition will be held during the month of April for students enrolled at ESU. Students can submit 3 works of art that were completed within the last year. Acceptable works include work completed after the previous Student Show deadline. 2D works should be matted to fi t gallery frames or ready to be hung. 3D works must include mounting devices. Any specifi c details re- lating to the presentation of the piece should be included. Students can acquire forms in the Art Offi ce several weeks prior to the Stu- (^12) dent Show.
Ceramics
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Art Health & Safety
(^) Substitute baby powder.
Photography
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Student Advising Student Advising
Student ResponsibilitiesStudent Responsibilities:
Advisors ResponsibilitiesAdvisors Responsibilities:
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Art Health & Safety
(^) tions in the use of safer materials and processes make for much easier or “freer” creative use.
The Art Work Itself
Studio Areas: Some of the
Big Questions
The purpose of this section is to raise awareness
and start you thinking about health and safety
concerns in all studio areas. This outline does
not intend to be complete in detail. Consult the
sources at the beginning of this chapter for com-
plete, up-to-date information.
Painting
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Art Student Organizations Art Student Organizations
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Student Advisory Board
Student Advisory Board
*additional members will be added at a later date.
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Art Health & Safety
Problems for the Artist in Studio Work
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Study Advice/Common Complaints Explained
relates directly to the strength of your liberal arts studies.
(E.) Bring energy, personal strength and curiosity to your studies. School can provide a rich environment to learn in but it can not teach you art. An essential ingredient in any work of art is the indi- vidual solution it contains. This applies to problems or projects you are given to solve as well as self initiated work. Art springs from individual uniqueness and this should show in all the work you do.
(F.) Keep your art connected to your life. Avoid thinking of your art studies as somehow separated from everything else you do. How can your life experiences and interests be incorporated into and drive your visual development? How do other art forms relate to what you do visually: music, dance, literature, theater?
(G.) You are the student that the school is designed to serve. Ask questions and know the purpose of what you are doing. Speak up and be involved. Understand your goals and the school program expectations. Remember that when you are learning you will not at fi rst always know just what is going on. Many of the things you need to do will be unfamiliar. Experimentation, discovery, and develop- ment are the very basis of the creative and educational process.
(H.) Be ready to put in the needed time. College level study of 12 to 15 credits or more is a full time job. A standard guide line for study nationally is to spend three hours of work each week for each credit you take. For example, a three credit art course will need six hours of in class time and at least three hours outside of class time each week, if not more. Expect to have to come in after normal building hours. *See section on Art Dept. Late Pass.
(I.) It will take years of regular work to become profi cient in your fi eld. It is often said by professional artists that basic development in the arts takes fi ve or more years of regular, dedicated activity - and, it takes another five years to be really strong in your field.
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Tools, Power Equipment, and Machinery Be familiar with all professional and manufacturerʼs information. Do not rely on word-of-mouth, or amateur instruction. Be sure that
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Art Health & Safety
(^) are three major types of ventilation: Dilution: better than nothing but not really adequate for any pur- pose. General: or whole room ventilation. There must be a make-up fresh air supply and positive exit of room air. Fresh air take up must not be placed so that it picks up air from exhaust location. Used for a wide variety of low or non toxic art processes. Local Exhaust: strong, directed ventilation in close proximity to toxic materials & processes. There are several types of local exhaust systems specifi c to each type of ventilation need. A properly located make up air supply is, of course, needed.
Cleaning
Obtaining Materials Obtain complete information about any art product or equipment you use. Get this information from the listed publications. Do not rely on word of mouth, or in many cases, outdated lists.
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Study Advice/Common Complaints Explained
(J.) Know where the problem is if one comes up. If something is un- clear or not working, speak up. Avoid blame shifting: did you read the outline? Did you ask questions? Did you come prepared? Were you late or did you miss class? Do you “have an agenda” other than the work at hand?
(K.) Teaching approaches vary and you will fi nd some that you identify with more than others. Remember to make the best of your classes and make an effort to understand what is being presented.
(L.) Look for the best examples, know what is current in your fi eld, and visualize where you are going. You MUST look at all art and art publications and visualize yourself as working to join people at this level. Actively visit schools to see what students elsewhere are doing and share that information with your peers. See as many avail- able original art works as you can. For this there is no substitute.
(M.) Know the difference between academic projects that expose you to ideas and techniques, and self initiated work. Classes often follow a project structure. Do projects to understand, learn, and practice. Projects should never be taken as setting limits and estab- lishing right and wrong, but rather to focus on particular concepts.
(N.) It is essential to schedule your time effectively. Donʼt forget that this does not mean working yourself to death. Set realistic goals, and, plan in uncompromising personal time. Short breaks also can greatly improve the quality and effi ciency of your work. Students often talk about “freezing up” on a project or work. The best time-tested thing to do in such a case is to take a break from your work and defocus: go for a walk, visit a friend, read, see a fi lm, etc. Ideas and solutions can come to mind more freely when you refocus on your work from a clear head. Often, an idea or solution will pop into your head during a break when you arenʼt trying to force the issue.
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