This Junior Seminar addresses the intersections of process and theory in order to strengthen analytical skills of visual practitioners. The imagist of the twenty-first century will require knowledge that includes but expands upon the perimeters of conventional imaging techniques. How imagists collect what they require will necessitate correspondence with the processes of other visual practitioners. What do designers, writers, scientists, philosophers, documentary film-makers, mathematicians see when they look at their subject? What strategies are used to see and then re-present that view? Which are the best means of studying surface, and how might we understand its difference [if any] from depth? Imagists from all disciplines bring into view that which has been neglected, forgotten or never considered. What are their means of accomplishing this and to whom might emerging practitioners receive guidance for critical analysis? This course, through the presentations and readings of several guest speakers, will speak to the issues of looking at the subject, seeing the significance of the subject and translating that view into strategies for imaging. Requirements: a substantial amount of critical reading and viewing and five studio production assignments will be completed throughout the semester. In addition to critiques of individual projects, the final grade will be based upon a portfolio that includes 20-30 slides of work produced during the term, an artist statement, an art resume, and a 5-page essay. The course is limited to Art majors and is required of junior Art majors.

Hour: EPPING