Update on embroidery piece

This class and this assignment has taught me so many things. I am grateful that I got to take this class with you, Future. I have learned that there is an excellent resource/book on crafts that I can use in my classroom, that a great deal of time needs to be taken with embroidery if you’re doing a French knot, that Crafts in America is an awesome tool for educating myself AND my students, that crafts have gone through many stages throughout its existence, and that my fingertips can only take so many pokes with a needle!

My piece didn’t turn out quite like I’d envisioned. I think to fill the entire space like I’d initially thought, it would have taken nearly a month! The knotting takes so long! Although it isn’t what I’d planned, I am really pleased with the experience and eager to try again. I am happy I didn’t resort to something that I’m already comfortable with.

I noticed that I tend to do spirals in my artwork a lot. I don’t know why I do that or where it came from, but organic shapes are much more appealing to me. This form reminds me a lot of the Maori in New Zealand. They have this amazing plant there, the koru, and they often incorporate the spiral of the leaves into their artwork.

I know it sounds silly, but I quite like how the back of the fabric looks on the side with all the knots and cross overs. I think the randomness of it is more interesting to me. I would like to continue with this project and add patching of other fabrics that compliment it. I have even pushed several of my students to try embroidery, and a great number of them love it and find it relaxing! This is something that I will definitely continue with in my won work and with my students, as well. One of my students just got a medal today for one of the crafts pieces I had him do for our district art show. He’s my too-cool-for-school kid, so it made me very happy that he won and that he was proud of himself.

Thank you so much again for everything. This was awesome.

Final craft and episode review

Season 8 Episode 2

This episode is all about art being inspired by nature here in America. The artists call it translating their experiences in that natural environment for others to see and understand as well. This was interesting that so many artists are influenced by something so simple as just looking out side and would want to share it with others. One of my favorite pieces in this episode was 'Nature's Gift' (2016) by Preston Singletary. He is a native American glass artist who uses his surroundings as his inspiration. His techniques captures the motion of the wild creatures in something that is so stiff and immobile like glass. Most artists speak of a connection they feel between them, the materials, and the nature around them. They say that nature is the most critical resource in the world.

 

For my piece, I decided to create an altered image of a woman with clay. It was roughly 8x4in. on dimensions. My idea for this was how society tried to break down and build up women to fit the image they want them to portray. I decided to put an altered and asymmetric body on what seems to be a surgery table. From the small waist to the bigger breast, eyes, lips, and thighs,  I started piecing together the perfect woman yet somehow still creating a female version of Victor Frankenstein's monster. This is a replica of how I see us as a people ending up because we tend to always change ourselves to please other people. In my opinion, this piece demonstrates the damage of conformity and no self worth.

1. Something that surprised me was how easy it was to get carried away while molding and shaping the clay. I noticed that it was also harder to do exactly what I wanted to do with this but it wasn't surprising since I have worked with this material before. I was surprised with how long it took me to get everything right as well. Normally it takes me less than 20 minutes to draw and color a piece on a 9x12in board, so I had to work my patience here. 
2. Something that impressed me with my project was how big of a message it portrayed to me. In today's society, it seems as if people and their opinions have more control over what we do and how we should look than we do. This shows how monstrous that can be in the end. bending and changing yourself in the end only makes you into a monster, unfit for anyone's eyes. We should appreciate ourselves as we are.
3. The take home from this project is that I learned how to manipulate clay better and I was also able to learn a few more techniques while trying to shape the clay how I wanted. This project taught me more patience, time maintenance and how to take my time and not rush in order to get certain shapes and forms right. 

Angela Zesiger's Final Project

Final Project

Each of the pieces that are shown here, I threw on the wheel as a demonstration for one of my classes. I do this every year, so some of the kids have seen me do it for the last 5 years and every time they come up with new questions about how the clay is being formed. I am so impressed with how the children's questions are becoming more complexed.

I was surprised by how beautiful some of the glazes turned out. I think the students were also surprised by how the glaze turned out. They can't understand sometimes how the glaze looks chalky grayish in color and then it comes out of the kiln a bright blue.

The more I throw the larger the pieces get.  The students also can see that the pieces of pottery are getting larger.  Every student in my class from pre-k to 5th grade get to work with clay and as they get older the amount of clay that they get to use to make their artwork gets larger, therefore their artwork gets larger.

One thing about my pottery is I like to put texture on it.  Sometimes I let the students pick which tool I'm going to use to make the texture. They love feeling that they are a part of the decision process in making the art.  I guess you could say that these pieces are collaborative artwork.  I like to demonstrate in front of the children.  I feel that it is good for the student and also good for me to be able to do art. I think that it is a great stress relief from the everyday hustle and bustle for both the students and me. I love to watercolor with the kids.

I still have about 8 pieces of pottery that need to be glazed. I have a few that I will be re-glazing and re-firing to see if I can get a better effect with the glaze. The pieces in the picture are my favorites this year.  I really love how the glazes and texture turned out. The students have learned what makes these pots functional and nonfunctional.

Papi's Kitchen: The process

Papi’s Kitchen

It all started as a hobby; my father loved having a backyard garden and trying to grow his fruits and vegetables.  His garden was very successful, and soon he had a bountiful of harvest. He started experimenting with different ways to preserve the fruits and vegetables so they wouldn't go to waste.  Eventually, jellies, jams, relishes, and salsas were created. After a while, he shared some of his creations with friends and family who suggested that he should sell them because they were so delicious.

Surprised:

To appreciate and understand the art of making jellies and jams, its crucial to know the story behind it. Before the advent of our local grocery stores, many people had gardens and grew their produce. But in many parts of the country the growing season was limited, so to have food all year long people needed a way to preserve their harvest. One of them was that people found to do so was to make jellies and jams.

Today’s standards are also giving jam makers the freedom to explore. Flavor combinations are as endless as one can imagine, and the ability to choose from a vast array of flavors from cranberry lemonade to pineapple jalapeno means the artisan can perfect an offering true to their vision.

Impressed:

The response was overwhelmingly positive, and people loved his jellies! Today, this business is running on a full-time basis going to farmers markets around the DFW area every weekend.

Something special happens when folks gather together around the breakfast table, and on quiet weekend mornings, they love to put out a big spread for family and friends to share. Give a Papi’s Kitchen Jelly breakfast gift and send memorable mornings for everyone to enjoy.

Take Away:

We are a family business located Lavon, Tx. The quality of our product and the attention to detail shows from what goes inside to the outside of the jar. Preparing and selling our jellies has only brought our family closer together. We hope that the families that purchase our jellies create new memories, connections, and appreciate the process of crafting unique, flavorful jams and jellies.

My Project can be found on Youtube! Here is the link!

Papi's Kitchen: The Process

Final Project - "Over and Under the Parks"

For my final project I knew I wanted to revisit weaving. I have had an admiration for yarn and wall hangings for the past couple of years but haven’t attempted to try making my own piece until now. This piece started out with no design plan in mind but the idea of trying out different techniques in one to see how they looked and for my own practice. This way, I can get familiar with how I can use yarn to create different looks and textures in my pieces. I did choose the earthy tones for the yarn with the intention to tie it together with the National Parks I have visited. Someday I would like to do or be a part of something big that will help me give back to the parks and preserve them because I do believe they are important. For now, I capture their beauty through my photography and do the little things that I can to help out. So naturally, my design turned into the idea of a landscape from Big Bend National Park, the very first park I visited and the one that got me to appreciate nature so much more.

I was surprised at how much easier I found this to be than I thought it would be. The last time I tried weaving was in fourth grade when my elementary art teacher taught us how. We were only supposed to do one, but I remember I ended up doing several and even made my own loom at home out of cardboard (because that’s how we were taught) to continue. Of course I need more practice but the joy of weaving was still there like when I was in fourth grade.

I’m truly impressed with yarn and the different techniques I can do to make different designs on the loom. I bought some fluffier yarn because it was on clearance and it ended up being my favorite on there. I’d like to use the colors and techniques to incorporate more of the colors and patterns I see at National Parks.

My take away from this project is to always try or do what you have been dreaming about doing. Like I mentioned through out this course, I follow local artists on Instagram and I feel inspired by their work. I have found myself to have less time to create while teaching but there are still ideas and things I want to create and do. Weaving was one of them. If it wasn’t for this project, I eventually would have tried it…but it definitely wouldn’t have been until the summer or whenever I decided to set time aside.

I’m not fully done with it, I’m wanting to hang it on a stick from a tree to keep that natural look to it.

Zack Smith Final Project

Hand Back The Keys (minus the final layer)

My project unconventionally involves crafts (I’m hoping this is okay, I decided to get creative) Because my medium is printmaking I thought I would let crafts inspire my print, as well as various dimensions of the history of the American craft history. 

My poster entitled “Hand Back the Keys” is a feminist comment on The Church of Jesus Christ of Latter-Day Saints (aka LDS or Mormon Church) history. It examines the patriarchal nature of the church organization and the history surrounding the church moving from a progressive organization, specifically in the area of women’s rights, to a less progressive organization. The purpose of this poster is to question the roles the church imposes on women.

This print has several textile influences that date back to the late 1800’s, 1930’s and 1940’s. This was my first time incorporating a textile into a print and I really like how it turned out.  For starters you will notice the base of the print is a handkerchief.  Several details of the poster (the all seeing eye and the banners) were influenced by banners originally used by the early women’s organization of the church. In addition, a picture of a crown from the 1940's inspired my design. 

I was surprised by how long this project took me. I spent over 15  hours researching and sorting through the church archives. It was a pretty cool process as I had access to the original photos. I then spent 4 days making the print with a buddy who acted as an assistant. Not to mention the time I took to design the image (30 plus hours)…and it’s not even finished (I have one more layer to go). 

Beyond using textiles as part of my work I kind of went out on a limb by questioning some things seen as the norm in the religion I participate in. Throughout the readings, as I have mentioned before, I found myself being most inspired by the work that aimed to communicate or comment on the current political or social climate. I aim to do this via this poster. 

My take away was that I feel like I have found my medium. I’ve often felt like I didn’t have the voice to communicate my opinions. This now gives me my voice in a way that feels authentic to me. I also think that this made me interested in using textiles in my future work and really got me thinking of how I could use other mediums to influence my work. 

I’ve included pictures of my almost final work, inspiration pictures, and a little bit of the process. Also, I printed on a few different types and colors of paper which is why each layer looks like a different paper. 

Candie Printz Craft Projects

Embroidery piece- in progress. I will post more reflections on this once it is completed. There is also a photo of a found object craft piece that I did just for fun.

I have chosen to do two craft pieces. The first is the main one I am striving to complete- an embroidery piece. I am doing an abstract piece using french knots, so far. I TOTALLY underestimated how long something like this would take. I have a small circle done so far and it has taken me over 8 hours, several fingertip jabs, and pains in my hands from the repetitive movements that I had not anticipated! This is a lot harder than it looks! I will continue to post updates with photos as I move forward with this. I am trying to fade the thread colors from dark to light. It has no deep meaning or message, but serves as an experiment in technique for me.

What surprised me is the difficulty of embroidery. I will try to include more stitches to change up the texture of this piece, but the french knot is very time consuming.

What impressed me is how relaxing something like this can be (when I'm not stabbing myself with the needle, of course!).

My take away from this is that this is something that is underrepresented in public schools today. I plan on doing more embroidery pieces with all of my classes next year. I think there will be students that will appreciate it.

Craft In America and Final Projects

Between now May 14th you can turn in your review of one episode of Craft in America, your final project and the short essay over your final project...apox. 250-500 words. Share your experience using our three regular questions.

I have enjoyed getting to know each of through this class. Thank you for your time and for sharing your thoughts on the book. This is the last time this class will be offered.  I have been re-assigned out of Visual Studies (not sure yet if I will be in Foundations or Art Appreciation ) as such I will not be offering the seminar this summer on Threads of Compassion: Crafts and Community, nor will I be able to chair any MAE committees.  It has been my honor to work within this program.

April 22, Chapter 11

Well, we have come to the end of this amazing book. I hope you keep this a reference and as an inspiration for your own work. As I have said many times before, it is one of my all time favorite books.
For the extra question share what you would do with an NEA grant...they were for $10,000 and could be used for anything. One artist purchased a car to take his art work to shows. Others used the money for supplies. All you had to do at the end of the year was write a short essay on how you used the money and did it make a difference.
You can give your review of one episode of Craft in America at anytime. The same is true for your final project.

April 15th, Chapter 10

Although clay and glass are still strong, wood expands into an unique art form which in many ways represents the growing gap between function and material object. The techniques and craftsmanship of a piece is still valued but there is a shift away from simple function to almost function or maybe no function.  As you read think about this change in purpose. Think about how you view art and craft or the art of craft, and how these pieces/ the attitudes they represent influence your teaching.

For your extra question share your favorite style of furniture.

April 8th, Chapter 9

Once again clay rules. Any of you who have or will take a clay class at TTU look at these images...this is what you/your work will be judged against. These are the images your professors were taught to admire. For me it seems clay and the other mediums had gone from a slow slide to a fast train away from functionality. Yet they were  more committed to the technical information and experimentation based on techniques. In a way this focus on technique was an compliment to tradition. I especially love the concept of textiles and spirituality.

In the first part of this chapter the book series Foxfire is mentioned. If you have not heard of or read this books take time to look them up. They are wonderful stories of life in isolation.
Another book from this time is Flash Deign...a documentation of the recycled and embellished  clothing coming out of the hippie revolution. Both books, along with Objects USA, are incredible recordings of the time.

Pay attention to the short section on how teachers "made" stars by showing slides of only certain people to their students. How true that was and still is. It is hard to trust our own judgments so just continue to use what others have said is good. For your extra question 1. share a famous work of art you would never consider as art if you had not been told so many times it was great. 2. share one piece of art that you love but is not found in the art history books.

April 1st, Chapter 8

This chapter is the time period I most relate to/with because my teachers represented the philosophies and attitudes from this wildly changing time.  I still have a copy of " Objects USA" which was considered the art bible for 20 years.  It cataloged an amazing show that exposed the nation to new ways of looking at craftwork. Also, the entire "hippy" movement, which was part of the return to the earth movement ,paved the way for crafts to valued. Whole Earth Catalog and other printed matter shared incredible information on how to do almost anything by  yourself. In addition,  hand dyed /sewn/ embellished clothing was popular.  Alternative living styles championed hand made furniture and pottery. 

 In the art world textiles and glass come into their own, and metals and wood are not far behind. Clay never losses its hold on crafts but more importantly the other areas are catching up.  National organizations based on medium began as a way to protect and share histories. These groups are still active and alive today. As you read, think back on your teachers and see if you recall any thing similar or close to what is presented.

For your extra question I want you to look up one artist mentioned and share with the class something not found in the book. Also why did you pick that artist.

A reminder, along you are to review on episode of Craft in America.

March 25th, Chapter 7

If you like or are even a little interested in clay this is your chapter. Clay literally came into life during this intense period. Major shifts in production and philosophy allowed for creativity to soar. Although still a male dominated media there are women noted and discussed. All the other media seem to be pale during this decade...I am sure that is not totally true but it seems that way reading this chapter.

Again look at the time frame in the beginning. How many of these milestones still influence us ?

Based on last weeks readings concerning the introduction of crafts into schools read carefully the section on "Craft Embraces Academia". How do you feel about professors vs. professionals in art?
Where you taught that selling work was selling out? How do you price your work? Mainly consider what is the value of the art you make to the quality of your life.

March 18th, Chapter 6

You do not need to post on Chapter 6 till the 18th. I will give you your extra question later in the week. Enjoy the spring break. This is a good time to begin work on your final project.

March 4, chapter 5

What a great time! Dr. Seuss, Wizard of Oz and Amelia Earhart. Adventures of the mind and with the body.
This chapter introduces us to the path art/crafts took to become part of higher education. Not always a smooth path or even a well received path. As you read consider where you are in your education, how you got here and where you want to go. For your extra question talk about what you would like for your education/learning/growing. What classes. Do you need credit? Should it stay on a semester timeline? What would you take that is not offered? Dream.

Feb 25th, Chapter 4

Thank you for sharing your chairs. I could imagine having them all in a gathering as we talked about this book. For the record my favorite chair is a recliner in my studio (which also rocks). I love to have sketches or works in progress on the wall and be able to stretch back to look at the work...maybe nap a bit and then see the work with rested eyes.

For this chapter's extra question, consider the influence from outsiders...curators, anthropologists, collectors. When does good intention cause more harm than good? Or is it just progress?  Have you ever had a story elaborated about you/your work? How much of art history is really just marketing stories?

My favorite red chair- engagement photo

Feb 18th, Chapter 3

When I think of an artists community I envision a cluster of living studio spaces with large areas for clay, glassblowing, metals (jewelry and large scale), wood working painting and printmaking areas. I always like a large dinning area (with cooks on hand for good meals) and lots of space to walk/dream/think. I love the idea of shared works areas like kilns, glory holes, casting equipment with a manager on hand to ensure safety and offer advise. I love the opportunity to have conversations throughout the day and into the night. And space for visitors and critters.

Pay attention to the timeline at the beginning of the chapter..image a time with both Norman Rockwell and the Armory Show! Look at how clay matured and the slow addition of women. Enjoy.

So for this week's extra question describe your favorite chair. What does it look like, is there a story behind the chair, how does it feel?

Feb 11, Chapter Two

I love how each chapter begins with a historical outline to help us understand the world slightly better and maybe not judge so quickly. As you read each chapter take time to try and really study the work created...image how the material feels. Image how the piece was created...how long would it have taken. How would you have reacted to the work if you had been alive then. Mainly just enjoy.

In the last reading I asked you about studio craft and architecture because I believe that in many ways architecture is the biggest supporter of studio craft. They design around and purchase studio craft items for their buildings. Some, not all, 1% for the art commission are studio crafts based. Wall tiles, glass and/or clay installations are examples.

As you answer the three main questions: What impressed you? 2. What surprised you? and 3. What are you caring away with you? continue to question your relationship to studio crafts. For question #4
I am asking you to describe your ideal of a crafts community. Dream.

PS. Mr. William, this chapter is for YOU.

Feb 4, Preface and Chapter 1

Welcome to one of my favorite books. It does not matter how many times I have read this history I always learn something new or make a new connection. This week's reading gives us some background and sets up the early beginnings for studio crafts. As you read, enjoy, think about what they are sharing and allow yourself time to let the information settle. I do not expect you to like all the art, I do hope you see all the art as pieces of a larger world. I am asking to step outside of your chosen medium and look/question/accept how these five materials (metals, glass, clay, fiber and wood) meandered and influenced each other and the artists who worked with them,

Each week I want you to answer three questions: 1. What surprised you?  2.  What impressed you? and 3. What are you carrying away with you ? In addition I will add a forth question.

Share your honest response. If you refer to exact statement or fact give us the page number. If you want to share a site you found (because you will want to explore more about a certain artist or process) please tell us why you found the site exciting or what you learned from the new information. It means nothing to just say "go to this site".

I encourage you to comment to each other. I will comment to each post and then comment in general at the end of the week.

Question #4...what do you think is the relationship between studio crafts and architecture today?

Enjoy.

Blue Polkadot Dress

That's me on the bottom right and my mom in the middle with the blue polkadot dress

Jan 28th Tell Me a Story

First, as I was reviewing the syllabus this morning I notice I had made a mistake. The reading of the first chapter and the preface for The Makers is due Feb 4th not the 11th. As such will you all please move up the reading due dates by a week. Thank you.

For this week I want you to share a story about an object of craft you own or have in your family. Describe it for us, then tell us what it means to you. If you do not own a piece of craft tell us about a work you wish you owned.

Also, talk about what you have been taught about craft(s) in school or out of school. What do you think about "crafts" in the art world. This is not a test, just another layer of getting to know each other.

Introductions, due Jan 21

Welcome to the wild adventure of the often overlooked or forgotten history of crafts. It is my hope that you put aside any past dismissal you may have been taught about crafts and that you will  open your hearts to this eclectic group of makers and dreamers.

I look forward to getting to know each of you.

Syallbus

Spring 2018

Art 5360 Seminar in Art Education: “Traditional Studio Crafts”

Future Akins-Tillett, Associate Professor of Art

future.akins@ttu.edu

Last day to drop a class without a penalty

Feb 2, 2017

Catalog Description

Topics very per course from faculty research to publication processes, ecology, technology, interpretation, and issues of power, privilege, and ideology. May be repeated for credit.

Prerequisites

Graduate standing and permission of instructor.

Overview of Class

This class will explore the history of contemporary studio crafts in America and the impact crafts have had on art education.

You weekly posts over assigned material are due by midnight on Sunday. I encourage to use this opportunity to develop meaningful dialogs with your colleagues. I will read and comment on each of your main entries and at times will add comments to the dialogs.

I ask you to listen to and learn from each other. This is not a place to dominate or to be judgmental. We will be looking at a rich and exciting history usually left out of universities art studies.

If you are late posting, post in the current week’s section. Do not attempt to go back and post. Simply identify the reading you are responding to, such as “Based on Chapter 2, I ……..”.

Required Readings/ Review Material

Makers/A History of American Studio Crafts, by Janet Koplos and Bruce Metcalf

Craft In America/ Series from PBS, one episode of your choosing

Final Project/Essay Due

For a final exam you are to create a work of art (your choice of medium) inspired /influenced by the readings. In addition, you will write a short essay (500-700 words) describing your process, reasoning, and /or focus for the work created.

If at any time an issue develops and you feel a need to contact me directly or privately do not hesitate to write me at future.akins@ttu.edu.

Outcomes

1. Students will examine the history of American studio crafts.

2. Students will compare the information gained with the previous knowledge from their art classes.

3. Students will apply the gained knowledge to their own creative practice.

Assessments

1.Students will be able to reflect, analyze and discuss contemporary/ traditional approaches to studio crafts through their weekly writings.

2.students will review contemporary crafts as presented through the Craft in America series.

3.Students will create a work of art in response to the readings/reviews. In addition, students will write a summative essay, 500- 700 words, based their art work and art processes.

Attendance Policy

Your attendance is necessary in order to make this class a successful learning experience. If you know you will be unable to respond on the blog during the set time it is your responsibility to notify me in advance and make arrangements to make up work. Continued absences will have a direct impact on your grade. Responding late, in bulk messages, is unfair and puts the other students at a disadvantage. Your grade will reflect this practice.

Health and Safety  The School of Art endeavors to comply with the intent of state laws and the University Health and Safety Program in an effort to maintain a safe working environment. Students are expected to take note of cautions and safety procedures listed in textbooks or covered in class. Accidents should be reported immediately and injuries should receive prompt medical attention. Broken equipment should be reported in order to make timely repairs and avoid hazards. See http://www.depts.ttu.edu/opmanual/OP60.01.pdf

Civility in the Classroom  “Each Person Has Worth and Dignity.” “It is imperative that students learn to recognize, understand, and celebrate human differences. Colleges can, and indeed must, help their students become open to the differences that surround them: race, religion, age, gender, culture, physical ability, language, nationality, sexual preference, and life style. These matters are learned best in collegiate settings that are rich with diversity, and they must be learned if the ideals of human worth and dignity are to be advanced” (2011-12 Texas Tech Student Handbook, Assumptions and Beliefs, page 3).

Classroom Conduct  Students are expected to assist in maintaining a classroom environment that is conducive to learning. In order to assure that all students have an opportunity to gain from time spent in class, unless otherwise approved by the instructor, students are prohibited from using cellular phones or beepers (including texting), eating or drinking in class, making offensive remarks, reading newspapers, sleeping or engaging in any other form of distraction. Inappropriate behavior in the classroom shall result in, minimally, a request to leave class and an absence for that session. Unless the instructor requires it, you may not surf the Internet or check your email during class time. If a student is found doing either of these things, you will be asked to leave the class and earn an absence for that session.

See 2011-12 Student Handbook, pages 28-38.

Academic Integrity  “It is the aim of the faculty of Texas Tech University to foster a spirit of complete honesty and high standard of integrity. The attempt of students to present as their own any work not honestly performed is regarded by the faculty and administration as a most serious offense and renders the offenders liable to serious consequences, possibly suspension” (2011-12 Texas Tech Student Handbook, page 8). “Academic dishonesty” includes, but it not limited to, cheating, plagiarism, collusion, falsifying academic records, misrepresenting facts, and any act designed to give unfair academic advantage to the student.” (For the specific definitions of Academic Misconduct, see 2011-2012 Texas Tech Student Handbook, page 28). This includes, but is not limited to, submission of essentially the same written assignment for two courses without the prior permission of the instructor or the attempt to commit such an act.

Conflict Resolution  The Student Resolution Center is available to assist students with any conflict or problem that has to do with being a student at Texas Tech University. You may visit the Student Resolution Center in the Student Union Building or call 742-4791.

Reporting Illness  In case of an illness that will require absence from class for more than one week, the student should notify his or her academic dean. The Dean’s office will inform the student’s instructors through the departmental office. In case of class absences because of a brief illness, the student should inform the instructor directly. Other information related to illness is found in the Student Handbook and the Residence Halls Handbook.

Absence due to religious observance  "Religious holy day" means a holy day observed by a religion whose places of worship are exempt from property taxation under Texas Tax Code §11.20. A student who intends to observe a religious holy day should make that intention known in writing to the instructor prior to the absence. A student who is absent from classes for the observance of a religious holy day shall be allowed to take an examination or complete an assignment scheduled for that day within a reasonable time after the absence. A student who is excused, page 9, in the TTU 2011-2012 Student Handbook may not be penalized for the absence; however, the instructor may respond appropriately if the student fails to complete the assignment satisfactorily.

See http://www.depts.ttu.edu/officialpublications/catalog/_AcademicsRegulations.php

See http://www.depts.ttu.edu/opmanual/OP34.19.pdf.

Student Absence due to Sponsorship of Student Activities and Off-Campus Trips:

“Faculty, department chairpersons, directors, or others responsible for a student representing the university on officially approved trips should notify the student’s instructors of the departure and return schedules in advance of the trip” (TTU 2011-12 Student Handbook, page 9). Proper protocol dictates that a student missing class due to an officially excused trip to personally notify their instructor of the departure and return schedule in advance of the trip as well. The student may not be penalized and is responsible for the material missed. According to TTU OP 34.06, students will be responsible for making their own individual arrangements with instructors for class work missed while participating in an off-campus trip. See http://www.depts.ttu.edu/opmanual/OP34.06.pdf.

Illness and Death Notification  The Center for Campus Life is responsible for notifying the campus community of student illnesses, immediate family deaths and/ or student death. Generally, in cases of student illness or immediate family deaths, the notification to the appropriate campus community members occur when a student is absent from class for four (4) consecutive days with appropriate verification. It is always the student’s responsibility for missed class assignments and/or course work during her/his absence. The student is encouraged to contact the faculty member immediately regarding the absences and to provide verification afterwards. The notification from the Center for Campus Life does not excuse a student from class, assignments, and/or any other course requirements. The notification is provided as a courtesy and the student must initiate the request within two weeks of the incident.

Disability  Any student who, because of a disability, may require special arrangements in order to meet the course requirements should contact the instructor as soon as possible to make any necessary arrangements. Students should present appropriate verification from Student Disability Services during the instructor’s office hours. Please note instructors are not allowed to provide classroom accommodations to a student until appropriate verification from Student Disability Services has been provided. For additional information, you may contact the Student Disability Services office at 335 West Hall or 806-742-2405. The university-approved mechanism for doing so is written notification from Access TECH—a Letter of Accommodation (LOA). The LOA on official university letterhead indicates to professors that the student has given proof of his or her disability and that the accommodation noted is considered appropriate and reasonable.” TTU Faculty Handbook, Faculty Affairs, Section A., Americans With Disabilities Act.

See (http://www.depts.ttu.edu/officialpublications/facultyHB/FacultyAffairs_A.php#AccessTECH). Absolutely no other written documentation, verbal verification, or explanation, other than the LOA; may be requested as “proof of disability” by any faculty member under any circumstances whatsoever as this is in direct violation of Federal Law.

“Section 504 of the Rehabilitation Act of 1973, as amended, and the Americans with Disabilities Act (ADA) require that universities, and all faculty and staff therein, make reasonable accommodation for all students with disabilities in all programs and activities, both academic and nonacademic. If such reasonable accommodation is denied to any disabled student, the institution may be held in violation of the law”  (TTU Faculty Handbook, Faculty Affairs, Section A., Americans With Disabilities Act). See http://www.depts.ttu.edu/officialpublications/facultyHB/FacultyAffairs_A.php#AccessTECH.

Texas Tech University Statement of Ethical Principles  Texas Tech University is committed to the values of mutual respect; cooperation and communication; creativity and innovation; community service and leadership; pursuit of excellence; public accountability; and diversity (2005 Texas Tech University Strategic Plan). Texas Tech University is committed to being an ethical institution. In recognition of the rights and inherent dignity of all members of the Texas Tech University community, the university is committed to supporting the following principles and to protecting those rights guaranteed by the Constitution, the laws of the United States and the State of Texas, and the policies adopted by the Board of Regents. As members of the Texas Tech community, faculty, students, staff, administration, and all stakeholders accept responsibility for abiding by and promoting the ethical principles of the university described below. Although legal behavior and ethical behavior overlap in many areas, they are quite distinct from each other. While we follow legal requirements, an ethical institution goes beyond them to achieve the following values. See

http://www.depts.ttu.edu/officialpublications/catalog/_EthicalPrinciples.php

TTU Resources for Discrimination, Harassment, and Sexual

Violence Texas Tech University is committed to providing and strengthening an educational, working, and living environment where students, faculty, staff, and visitors are free from gender and/or sex discrimination of any kind. Sexual assault, discrimination, harassment, and other Title IX violations are not tolerated by the University. Report any incidents to theOffice for Student Rights & Resolution, (806)-742-SAFE (7233) or file a report online at titleix.ttu.edu/students. Faculty and staff members at TTU are committed to connecting you to resources on campus. Some of these available resources are: TTU Student Counseling Center, 806-742-3674, https://www.depts.ttu.edu/scc/(Provides confidential support on campus.) TTU Student Counseling Center 24-hour Helpline,806-742-5555, (Assists students who are experiencing a mental health or interpersonal violence crisis.  If you call the helpline, you will speak with a mental health counselor.) Voice of Hope Lubbock Rape Crisis Center, 806-763-7273, voiceofhopelubbock.org(24-hour hotline that provides support for survivors of sexual violence.) The Risk, Intervention, Safety and Education (RISE) Office, 806-742-2110, rise.ttu.edu(Provides a range of resources and support options focused on prevention education and student wellness.) Texas Tech Police Department, 806-742-3931, http://www.depts.ttu.edu/ttpd/(To report criminal activity that occurs on or near Texas Tech campus.)

Campus Carry at TTU  House Bill 910, also referred to as Open Carry, legalized the open carry of handguns in Texas for individuals who have a concealed handgun license. The Open Carry legislation has some exceptions such as institutions of Higher Education. Senate Bill 11, also referred to as Campus Carry, allows licensed individuals to carry concealed handguns on academic campuses. Within this Bill, provisions allow universities to have some discretion in tailoring Campus Carry policy to fit the uniqueness of individual campus environments.

To carry on campus:

1   Must have a LTC (license to carry) or a CHL (concealed handgun license).

2   Weapon must be concealed at all times.

3   Follow

Semester Mapping

All posts are due by midnight on Sundays.

Jan 21               Introductions. Share a little something about who you are: do you teach (where, what level), and what kind of art do you make? What do you hope to get out of this class? Most importantly what do you think about crafts at this time? What were you taught about crafts? This is our beginning point.  Be honest. Do not write what you think I want to hear.

Jan 28               Share a story about a piece of craft work you treasure. Describe the piece with HxWxD, medium. Attach a photo if you can. The story may be true or it can be from your imagined life.    

Feb 4                  For the following 11 weeks you will be reading “Makers”. For each chapter answer the following three questions:

1.What surprised you?

2.What impressed you?

3. What are you taking away with you?

In addition, I will add an extra question each week based upon how the class is developing.

                           Site the page number(s) that support your answers.

If you look up a site on the internet, feel free to share but tell us about the site do not simply send us to a site. I want to know what you think.

                          

Feb 11                Chapter I and preface          

Feb 18                Chapter 2

Feb 25                Chapter 3

Mar 4                 Chapter 4

Mar 11  Spring Break. A good time to begin work on final

                                project

Mar 18               Chapter 5

Mar 25                Chapter 6

Ap  1                    Chapter 7

Ap 8                     Chapter 8

Ap 15                 Chapter 9

Ap 22                Chapter 10

Ap 29                Chapter 11

May 6               Review of Craft in America

May 10-14     Your final project (art work and essay)

Grade Rubric

Postings and responses (12 x 5 points)      60

Review of DVD                                                20

Individual Art work                                           10

Essay over art work                                          10

90-100               A

80-89                 B

70-79                 C

60-69                 D

Below 60            F