The Ohio State University > Department of Art > Art & Technology + Molecular Genetics ARTSCI 5194 Arts and Sciences Interdisciplinary Group Studies Harvesting Color: the art and science of plant/human relationships |
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Marigold
art project protocol
The goal is
to create a collaborative art project to present to the public a
new idea, based on our artistic and scientific investigations into
human/plant interrelationships. As a springboard, we will begin with
the specific example of marigolds and our own experiences of extracting
compounds, conducting scientific experiments and asking artistic
questions about them. Students will work on individual concept development
and then coalesce ideas into one to three larger group projects,
to be presented at the final Art and Tech exhibition. Sculptures,
drawings, installations, videos, animations and/or performances will
all be considered.
Read:
a.
Rainforests of Domestication, Chapter 3 of Green
Light: Toward an Art of Evolution, by George Gessert.
b. Culture: Artists in the lab, by Martin Kemp (log into the OSU library for access)
Watch:
a. BBC How to Grow a Planet, Life from Light. b. Michael Pollan: A plant’s-eye view Ted Talk
Artist inspirations:
Related Art Projects:
Materials:
Methods:
1. Keep a field notebook with drawings, reflections, and notes as a way to document your observations and interests and to make connections between disparate elements. Ideally, you will add to this every day - at a minimum 4 times per week. Use it regularly and refer to it often as you complete the following steps during the term of this course. a. Get one you know you will keep with you. Will you really carry that fat sketchbook? b. Date your entries! Your ideas might become patents - you never know. c. Use it like a scrapbook, sketch, tape things in, photos, sample materials, etc. d. Write for yourself, but know that other may see it. Including your future self.
2. River of Gold exercise to consider color, materiality, aggregates, organizing principles, and taxonomy a. Bring 5 yellow/gold objects from home for the temporary installation.
b.
Together we will arrange/rearrange the objects and
ask questions and make attempt to reveal relationships between the variety of objects.
c.
How to organize / taxonomize?
d.
Where do the various colors come from?
e.
In small groups, students photograph and/or draw
parts of the resulting installation to create new connections and relationships
inspired by the River
of Gold installation we have constructed.
3.
Creative process diagramming
a.
Discuss Creative Process Diagram handout as an outlining tool for interdisciplinary artmaking.
b.
Map your ideas and processes onto
it. Make more than one copy of the diagram so you can freely rework
the diagram to suit your own process of idea generation and artmaking and
so you can try out different ideas with the map.
c.
Distill it down to one idea and
fill in as much detail as you can.
d.
Each student presents their mapped
out concept to the class as a possible project that could be pursued
as a larger group project
e.
Class discusses connections between
ideas and 1 to 3 groups form based on interests.
a.
Revisit the roots section of the Creative Process Diagram, this time fleshing
it out based on your experiences with the lab processes.
b.
Define and write out the artistic problem/question/hypothesis
as you personally see it.
c.
In class students present their fleshed out maps
and describe the artistic problems they are interested in working on.
a.
Discuss Creative
Conceptual Strategies handout and look at artist examples
b.
Revisit the “Make what?” section of the Creative
Process Diagram, and fill it
in with your own ideas about what to make.
c.
Present your ideas in class
d.
Decide as a class on the 1 to 3 group projects that
will be made.
a.
Discuss as a group, the practical considerations
such as, technical needs, time constraints, materials, tools, equipment,
budget, exhibition space and audience.
b.
Determine what new experiments and directed learning
must take place and create a plan to achieve these.
·
Are there
experts on campus we can consult with?
·
What materials
and techniques should we be playing/experimenting with?
·
What existing
research can guide us?
·
What should
we be reading and viewing?
·
Who in
the group will be charged with which tasks?
a.
Groups report on their experiments and what they
have learned
b.
A class discussion and decision about what will be
made for the show
c.
A plan and timeline of activities is developed, based
on the deadline of the exhibition
·
Map out
the milestones
·
Decide
how to divide the making into manageable tasks for individuals and/or
smaller groups
·
Determine
who is in charge of what
·
Be prepared
to present progress at all stages
8.
Critique and exhibition of completed work
a.
Working groups report on their perceived successes
and failures in the completed artwork.
b.
Individuals respond and reflect. How has this impacted
you or stories about others who have experienced the work?
c.
Class discussion about where this could go next?
New ideas or avenues that have been opened and thoughts about how to
document and present the work beyond the exhibition.
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Iris Meier | Department of Molecular Genetics | The Ohio State University Amy Youngs | Art & Technology | Department of Art | The Ohio State University |