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Lesson Plans


Re: Foundations

[ Thread ][ Subject ][ Author ][ Date ]
Weis (othrweis)
Wed, 14 Feb 1996 15:01:37 -0500


>Dick, we recently impelemented a new BFA program here at the University of
>Florida. It has so many "new" components I don't know where to start.
>Perhaps, the biggest change was the elimination of the traditional Design I
>& II classes as intreoductions to the program. It was replaced with a
>course titled Workshop for Art Research and Practice (WARP). This is a 9
>sem hr. course offered in the Fall term with a evening lecture (3 hrs.) and
>a studio (6 hrs.) meeting each week. In a nut shell, the course is
>"conceptually" based emphasizing problem-solving, critical analysis and a
>broad world view of art. It has been taught tthree times now and undergos
>minor changes each time. Several people from UF will be in Boston for CAA
>and you might look them up if you want to discuss the program in person.
>Otherwise, I might be able to answer some of your questions on-line.
>
>Craig Roland
>Associate Professor of
>Art Education
>University of Florida

Craig, Thank you for your response to my inquiry about foundations. I would
like to talk with someone from UF to get more details. Your response along
with those of Marianne Suggs, Lorena Nalin, and Sandra Hildreth are a
welcomed beginning to what I hope might be an on-going dialogue. It
obviously ties in to the objectives of F.A.T.E. (Foundation in Art: Theory
and Education).

The reason that I phrased my question the way that I did is because during
my conversations with faculty from other institutions I often found them
conditioning their responses to the need to work within traditional
academic structural restraints. When I asked them to set the academic model
aside, then their responses changed. Responses then included ideas like
integrating media and conceptual studies in a broader context (as it sounds
like UF has done), working more directly with artists on projects, getting
students off campus more often to see art first-hand in museums and
studios, mentoring programs etc.
It seemed to me that this approach provided a better starting point. Let us
outline those things that we see as most beneficial for the young artist
and then find ways to either change the structure to accommodate them or
find ways to make them happen within the structure.

Thanks

Dick