Emporia State Univ. Art Student Handbook: Contact Info & Art Org. Details - Prof. Eric L. , Exams of Art

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The Art Student

Handbook

Fall 2006 Edition

Emporia State University

Department of Art - Box 4015

1200 Commercial St.

Emporia. Kansas 66801-

www.emporia.edu/art

Contact Information

Contact Information

Faculty and Staff Email Phone

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

Websites

Department of Art..........................................www.emporia.edu/art Assessment Page.......................................www.emporia.edu/asem/ Financial Aid..............................................www.emporia.edu/finaid 48

The Art Student

Handbook

Fall 2006 Edition

A resource of must-know

information for art students at

Emporia State University

Based on publications fromBased on publications from:

University of Wisconsin, Eau Claire

Central Missouri State University

Scholarships

Scholarships

Incoming Freshman and Transfer Students

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.

Awards

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-

ESU Art Student Scholarships

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.

Outstanding Senior Award

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.

46

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.

The Student Advisory Board

3

Grading Standards

Grading Standards

A:

• Means that work completed in this course is of marked excel- lence.
• Means that the course requirements have been met or exceeded with a level of involvement and production that indicates a mastery of course knowledge and skills.
• Means that there is an excellent potential for success in allied art courses, advanced art courses and in major or graduate pro- grams and the art professions.

B:

• Means that work completed in this course is of superior qual- ity.
• Means that the course requirements have been met with a level of involvement and/or production that indicates course knowl- edge and skills, while not mastered, are at a competent stage of development.
• Means that there is a potential for success in allied art courses, advanced art courses and in major or graduate programs and the art professions.

C:

• Means that work completed in this course is of average quality within the arts.
• Means that the course requirements have been met with a level of involvement and/or production that indicates course knowl- edge and skills at a marginally competent stage of develop- ment.
• Means that there is concern regarding potential success in al- lied art courses, advanced art courses, and a serious concern

4

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).

• Do not use arc welders. Rods may contain asbestos or other haz- ardous fi bers and release differing highly toxic metals (use CO shielded line feed welders and plasma cutters. Avoid acetylene welding in schools when possible).
• Welding is to be carried out only under high powered, profession- ally designed, local ventilation. No breathing of fumes from welding operations is acceptable.
• Do not weld surface-coated metals.
• Demonstrate great care when moving metal. Protect eyes and ex- tremities from possible cuts and crushing.

45

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).

• Dust collection machines are a must for all wood work.
• Glues, fi nishes, strippers, preservatives and solvents can be very toxic. Become familiar with them and follow all working cautions.
• Know all professional procedures for wood working equipment. Do not rely on “homespun” instruction or examples.

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.

43

Art Health & Safety

• Do not eat, drink, or smoke in studio. Clean hands thoroughly. Do not wear studio clothes in house.

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.

• Never use chlorinated waxes.
• Never use carbon tetrachloride or benzene as solvents (for wax or anything). Substitute low odor mineral spirits or benzine (VM&P Naphtha) under strong local ventilation.

Wood: working with wood can be the cause of chronic and even acute health problems. If breathed in, many types of sawdust can

42

47

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.

7

Art Health & Safety

Metals/Jewelry/Enameling

• Do not eat, drink, or smoke in studio. Clean hands thoroughly. Do not wear studio clothes in house.
• Never use lead solders, never use silver solder containing cad- mium.
• Become familiar with the gases and torches being used.
• Become familiar with the treatment of burns and location of fi rst aid materials.
• Do not use fl uoride fl uxes, use borax fl uxes.
• All soldering, brazing and wax work must be done with strong lo- cal ventilation.
• Do not use sulfuric acid to clean metal, use Sparex.
• Never use cyanide solutions in electroplating.
• Never use lead based enamels, find substitutes now available.
• Also do not use nickel, manganese, chromium and cobalt contain- ing enamels.
• Use dust mask when handling enamels. Clean studio thoroughly. Do not vacuum or sweep.
• Enameling kilns must be in separate kiln room with professionally designed local ventilation hood.
• Use infrared goggles to look into kiln, otherwise cataracts can form in time.

Glass

ClothingClothing

• Wear clothes manufactured from natural materials only! e.g., cot- ton. DO not use modern synthetics such as orlon, banlon, polyester, etc.
• Long sleeve shirts & pants, sturdy shoes or boots (no sandals). If you prefer a short sleeve shirt, wear arm protection: a long sock with the toes cut out.
• No baggy or loose clothing which could catch or snag on projec-

40

• It is recommended that the student bring 3-4 representative exam-^ Assessment ples from each studio course completed. Work from the foundations courses (i.e., AR101: Basic Drawing, AR102: Two-Dimensional De- sign, and AR103: Three-Dimensional Design) mustmustmust be presented.be presented.
• In the case of work that is not portable or physically manifested (e.g., video, performance, installation), it is acceptable to present digital images. Unless the circumstances are exceptional, however, the student is expected to bring actual works to the review.
• Each student must schedule a meeting with the members of the Mid-Program Review Committee for a preliminary portfolio review (photographs are acceptable for this preliminary review).
• Each review is scheduled for 30 minutes. The first fifteen min- utes will consist of a narrative presentation by the student of his/her work. The second half of the review is reserved for a discussion and question-and-answer session. The student should be prepared for questions from the faculty at any time during his/her presentation.
• During the review, the faculty will make written comments, which will be made available to the student in a synthesized form through a summary evaluation letter from the Mid-Program Review Com- mittee. The student should expect to receive this letter within one month of completing his/her review.
• The student must complete a self-evaluation form as part of the Mid-Program Review process. This form will be given to the stu- dent immediately after the conclusion of his/her 30-minute session.
• The student should be prepared to discuss the nature of individual assignments, goals achieved, specific formal concerns, and skills ac- quired for each work presented.
• The student should be prepared to address the ways in which knowledge of particular historical and/or contemporary art move-

9

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.

• As part of the Mid-Program Review presentation, the student should reflect how completing coursework assignments has helped him/her begin to identify and clarify an aesthetic vision or position. The student should address the specific ways in which s/he might implement the knowledge and skills acquired through coursework in future artistic projects, art education, art therapy, or towards the realization of professional goals.
• Successful completion of AR 098: Mid-Program Review will be based on an evaluation of both the quality of work shown as well as the quality of the verbal presentation. AR 098: Mid-Program Review is Pass/Fail.
• The student is urged to complete SP101: Public Speaking prior to his/her presentation.

Again, this process is intended to help the student as well as the faculty. Think of it as a positive constructive experience.

Tools Used in the Department of Art for Feedback

and Improvement

Student evaluations of each course Student surveys Senior exit interviews Student Advisory Board (see details in this handbook)

Campus Assessments

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).

10

tions can lead to wrist problems over time.^ Art Health & Safety

Fiber Arts

• Understand hazards associated with fiber dusts. Can cause chronic respiratory problems through particles or allergies. In advanced stages damage can be irreversible. Anthrax can be present on some animal fibers.
• Dyes: do not use benzidine dyes (not as common today). Avoid Rit and household type dyes.
• Fiber reactive and cold water dyes can cause allergies.
• All powdered dyes must be handled in a dust booth and with a dust mask.
• All dyes must be used with local ventilation and protective gloves.
• Acid dyes have not been studied. Acetic acid, formic acid and sul- furic acid if used must have full protection for face and skin as well as local ventilation.
• Extremely toxic dye mordants include sodium or ammonium di- chromate, do not use.
• These mordants are also very toxic: copper sulfate, ammonia and oxalic acid.
• Wax and its vapors are very flammable
• Do not over-heat wax. Causes release of extremely toxic fumes. Heat only to melting point, with no exposed heating elements. Have fine temperature control.
• In batik, iron out wax at lowest temperature and use local ven- tilation. Use solvent to dissolve wax with strong local ventilation. Never use carbon tetrachloride.
• Avoid carbon arcs as a light source in photoprinting. Use quartz iodine lamps.
• Non-silver photographic processes on fiber can use exceedingly toxic and hazardous materials. Review the safety precautions in detail before using. Some should be avoided altogether.

39

Senior Exhibition

Exhibition

Senior 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.

Annual Student Exhibition

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.

• Do not use stabilizer in color negative processing as it contains^ Art Health & Safety formaldehyde. Use photo flow.
• Do not use intensifi ers, some bleaches, and many toners and dyes (see publications for list).

Ceramics

• Do not eat, drink, or smoke in the studio. Have separate studio clothes. Wash hands after working.
• NEVER SWEEP, NEVER VACUUM. Wet mop to clean only.
• Clean tables and wheels with wet sponge, scraping off any large chunks with a scraper.
• Avoid clay dust. Can cause silicosis in a very short period of time. Keep studio clean by wet mopping.
• Avoid talc in low fired clay bodies as it contains asbestos.
• Use ACGIH designed local ventilation and tight fi tting dust masks for clay mixing. It must be done in a room separated from classes.
• NEVER USE glaze materials: lead, lead frits, nickel, antimony, chromium, cadmium, uranium, manganese, vanadium compounds, chromates.
• Dust masks and ACGIH designed local ventilation required when mixing glazes. Wet mop to clean up.
• All fi ring including electric must be done in completely ventilated area. Equipment must be professionally designed. All fi ring and unloading should be done by designated students and faculty.
• Do not look into kilns without infrared goggles. Causes cataracts.
• Do not use asbestos gloves or kiln gaskets, or transite (asbestos) table tops.
• Do not use Fiber Frax, KaoWool or other ceramic fi ber materials. Highly toxic.
• Use only fully approved, manufactured, gas burners on kilns.
• NEVER reach into or put any object into a running clay mixer. Causes death or dismemberment.
• When using the wheels or the grinder, be sure that long hair is tied back out of the way.
• When using the potters wheel, shoes must be worn. Shoes must

37

Art Health & Safety

(^) Substitute baby powder.

• Clean plates, brayers and putty knives.
• Photo etching materials are exceedingly toxic, avoid.
• In photo silk screening: concentrated hydrogen peroxide can cause severe eye and skin damage, ammonium dichromate emulsions are toxic. Local ventilation is needed for clean up with bleaches.
• Use care with presses. This machinery uses great pressure and weight and can cause great bodily harm. Become familiar with settings and keep felts dry and clean. Keep blotters clean. Rotate paper.
• Solvent cautions: see painting.

Photography

• Do not eat, drink, or smoke in studio lab. Wear apron or darkroom clothes. Wash hands after working.
• NEVER put hands into chemicals. Use print tongs, rubber gloves when appropriate.
• Mixing of chemicals with instruction/supervision. With local ventilation of correct design only. Use face protection, gloves and apron.
• Substitute liquid chemical concentrates for all powdered chemi- cals. They are much safer and easier to mix. They also tend to be the most advanced formulas.
• Do not use stop baths - they are a major, unnecessary hazard. Use water rinse.
• Use local ventilation over open fixer tray and developer trays.
• Ventilation must be designed to meet published (ACIGH) stan- dards. Never work in unventilated or improperly ventilated dark- rooms.
• Black and white processes are fairly safe, as studio art areas are concerned.
• Avoid these color processes at any level: Cibachrome, E-6 (slide developing). These processes should only be done by trained profes- sionals in an approved professional lab.

36

Student Advising Student Advising

Student ResponsibilitiesStudent Responsibilities:

• Make and keep appointments with my advisor.
• Prepare for advising sessions by gathering any information my advisor might need.
• Begin pre-planning my class schedule before meeting for en- rollment appointment.
• Write down questions I want to ask my advisor
• Share important information with my advisor such as why I am missing class, how many hours I work, why a class is diffi cult, etc.
• Follow up on plans I make with my advisor.
• Arrange for transcripts to be sent from other institutions, which I have attended.
• Know requirements for my major and for graduation.
• Monitor my own academic progress.
• Remember that my advisor cannot make exemptions to univer- sity policy.

Advisors ResponsibilitiesAdvisors Responsibilities:

• Be available to advise during specifi c uninterrupted offi ce hours.
• Inform student of university regulations, major fi eld, and grad- uation requirements.
• Help set short and long term academic goals.
• Know career opportunities related to studentʼs major or refer to appropriate sources of information.
• Be approachable and a good listener.
• Know procedure for dropping and adding courses, for changing majors, and for enrolling.
• Provide required forms when appropriate.
• Treat students fairly.
• Respect confidentiality
• Refer to appropriate campus resources.

13

Art Health & Safety

(^) tions in the use of safer materials and processes make for much easier or “freer” creative use.

The Art Work Itself

• The art work produced with hazardous materials might be hazard- ous just to touch.
• A person other than the artist will probably end up with the work and not know or understand its potential dangers. Many works will end up in homes and in contact with domestic traffi c including kids.
• How long will the work last? If you are doing fast developing student work will this piece one day end up “in the barrel?” Will it possibly end up being burned? Will someone get the work who does not understand its toxic nature? In 10 or 100 years will it end up harming someone?

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

• Do not eat, drink, or smoke in the studio area. Have clothes or apron for use in studio. Clean hands thoroughly after working.

34

Art Student Organizations Art Student Organizations

Alpha Rho Theta (A.R.T.)Alpha Rho Theta (A.R.T.) promotes the advancement

of art on the campus and in the community through the

promotion, protection, and production of art. In its en-

deavors, A.R.T. hosts numerous art-related events for its

members, students, and community members.

ESU Glass Guild promotes the ESU glass-forming pro-

gram, recruits incoming glass artists from local second-

ary schools, and enhances the program through profes-

sional association contacts, field trips, demonstrations

and workshops. In April of each year, the ESU Glass

Guild sponsors the Blowout, which features a week-long

visiting artist workshop, public demonstration and auc-

tion.

ESU Student Chapter of National Art Education AssoESU Student Chapter of National Art Education Asso-

ciation (N.A.E.A)ciation (N.A.E.A) provides effective transition from art

education preparation to professional practice. Maintain

a high standard of quality art education on campus and

in the community, gain greater insight about teaching of

art and contemporary concepts in art education. Sponsor

service projects, and exchange ideas in substantive art

education. Promote art education and all areas of the

visual arts as a career choice.

Student organizations hold art sales in December, Febru-

ary and April. All students are welcome to participate.

Announcements of dates will be made at Art Forum.

15

Student Advisory Board

Student Advisory Board

The Chair of the Art Department selects a committee of

fi ve individuals each year. This committee meets once

a month to discuss ideas and student concerns that deal

with the Art Department. These selected individuals

help keep good communication between students, fac-

ulty and staff. They are also there to help students in the

department with any questions they might have. This

board usually meets the fi rst Monday of every month, in

the offi ce of the Chair.

The 2006-2007 board currently includes the followingThe 2006-2007 board currently includes the following

members (with one freshman member to be selected)members (with one freshman member to be selected):

Stephan Anderson-Story

Brett Cox

Chris Meyeres

Jake Newell

Amanda Olinger

Mikelle Russell

*additional members will be added at a later date.

16

Art Health & Safety

Problems for the Artist in Studio Work

• Stored materials are a potential hazard for family, friends and other artists.
• Materials are often mixed in with other materials.
• In use, materials get spread around the studio: on brushes, on fur- niture, on fl oors, walls, mixing cups, tools, gloves, clothing, rags, washing and clean up materials. They may go down the drain, dis- perse in the air, go out ventilating equipment contaminating build- ing exteriors or outside air, get taken up into building heating or air-conditioning equipment.
• Other people working in the studio, friends and family members are all at risk for exposure, particularly when they are not able to understand or are not aware of the hazards involved. This is particu- larly true for children, whose growing bodies are effected at 5 to 10 times the level of adults.
• Disposal of contaminated empty containers and cleaning materials is a major concern.
• An artist and particularly an art educator serves as an example to others and will encourage the use of particular materials and pro- cesses.
• In the real world, very few people are able to understand and practice the meticulous procedures needed to handle highly toxic materials.
• In a school situation, even after instruction, general student populations should not be expected to fully understand let alone reliably follow procedures for the use of highly toxic materials and processes.
• With acute and chronic health problems of the severity posed by materials on a NEVER USE list, any risk is too great. No exposure or chance of exposure is permissible. See the individual studio areas that follow for materials that fall into the NEVER USE category.
• In a school, the likelihood of careless use and accidents must al- ways be taken into account.
• Substitutes exist for all hazardous materials. The simpler precau-

33

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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• Labeling: CP, AP, Health Label. CP and AP are tested materials^ Art Health & Safety that by the methods of the testing agency are found to be (legally) non-toxic. NOTE: this does not mean that, in reality, they are neces- sarily non-toxic: indeed they may be extremely toxic. What the law allows a manufacturer to say and what the real hazards of a material may be are not the same thing. The Health Label appears on materi- als that have a level of hazard and must be used as directed. Another label found on some materials is the CL label which also indicates a health caution. These labels can be more confusing than helpful in determining which materials to buy. Do not rely on them as your basic source of information. Know before you buy by being fully familiar with the materials in your studio area. AP and CP do not mean safe for any age level. For younger artists look for materials specifically labeled as tested and safe for that particular age group. On all materials look for the: Conforms to ASTM-D-4236 label. This means that the material has been tested and labeled according to new, stricter methods.
• Many art materials have no testing label. Look for a clear, com- plete listing of ingredients. If not present, donʼt buy. Labeling and testing laws have often been poorly enforced due to lack of funding for enforcement agencies.
• Use imported materials with great caution. Although labeling, test- ing and regulations are poor (but improving) in the USA, they are still the best in the world for art materials.
• Support art health concerns and labeling laws.
• Art Educators: know what materials are age appropriate.

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

• Although well meant, many cleaning methods create the most hazardous health problems of all. Know the proper method for your studio.
• Never sweep in any art studio. Sweeping stirs up dust in the high- est concentration containing particles of all the materials being used in the studio. They go into the body in one of the quickest and high- est exposure level ways: microscopic particles through the lungs.
• Never vacuum in an art studio. The most hazardous form of art materials is dust so fi ne that it passes right through a standard vacuum fi lter and enters the air in very high concentration. These particles are so fi ne that one is not aware of their presence. They can stay suspended in the air for hours or days, and travel throughout a building in the heating and ventilating system. Only expensive industrial vacuums with very fi ne fi lters may be safely used in art studios (HEPA vacuums).
• Wet mopping is the preferred method of cleaning in most studios.

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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