Romancing my Addictions: study plan

study plan

g-3 Study plan

Guidelines: The study plan for one semester describes, specifically and in detail, what you will accomplish this semester. Refer to your STUDY PLAN AS A WHOLE, and as thoroughly and concretely as possible elaborate on this semester�s plan of study activity.

Briefly identify the fields or disciplines that provide the academic and artistic context of your inquiry:
Animation
Film
Photography

1. How do you envision your work evolving this semester? What direction(s) do you want to move toward? Are there particular themes or concerns that are central to what you want to achieve?
Continuing on from my studies from G-2 I want to delve deeper into my expose on sex in art and film, particulary the nude female and prostitutes in art. I also want to continue with my work from G-1 and the story that I wrote and I want to begin putting animation and film with the story line. My main medium this time would be digital video and animation along with doll making. Dollmaking was something I began last semester as well and I want to carry it over into the filming and animation of the story, as well as to act as "performers" for my work on sex in art and film. I also intend to continue working on my personal art practice and my artist theory and statement as I have done for the past two semesters. I will be making work using video, puppets, and animation to relate stories through video essays about the role of sex in the visual arts and time based media.

2. What creative and/or written products do you envision emerging from your work this semester? How will you document this?
I see several videos, including video logs or "vlogs" that I would regularly update via youtube, more artistic video works that would showcase my studies on sex in art and film and the progression of the story as well as video essays. I also see a larger display of photographs coming from my praciticum work. I would like to use animation to illutratrate some of the video work that I will be doing, a combination of live video, animation and puppetry/doll work. I would be making some dolls and puppets to be in the videos. Puppets would be more marionette like, with joints to move and gesture, where as the dolls would be moe stationary creatures, things that perform in stillness. I like both concepts and would do a combination of both. I will also ournal my artwork including any ideas or spontaneous creations that may occur.

I am still a novice in doll making and therefore will most likely look at several more doll makers and may look into marionettes since I do intend to use the dolls in my film/animation work. I would like to look at dolls that are both whimsical like the work by Jennifer Strunge and realistic like dolls by Rosa M. Greuso. Some pupperteers I would like to learn more about are Gerry Anderson and Ronnie Burkett among others

I will continue delving into the history of prostitutes in art and film, I plan on beginning this semester with Manets Olympia, and working toward the prostitutes of storyville in New Orleans and the work of E J Bellocq.I will also do some more contermporary work on prostitutes and their place int he modern day art world, some of the artist and theorists I would like to look at are Annie Sprinkle, Scarlot Harlott, Camille Paglia, Eve Ensler, and Anastasia.

And I will begin studying closer, film makers, video creators, animators and their works. Some work will be documented through written essays and some through my own video explorations, occasinally I may respond in a painting or drawing, but ingeneral this semester I intend to use mainly video. I intend to use my travel time for the practicum as a time in which to also gether information on others topics of interest. I want to look closer at silent films and their film makers such as Buster Keaton and Louis J. Gasnier. Some more contemporary creators i am interested in are Tim Burton, Kevin Smith, and Jhonon Vasquez.

I will also continue working on creating my artist statement and personal theory and practices of art. I imagine my "adventure" will lend a great deal to how I view the world and my art in it. My Art practice will grow and evolve as the time goes by and I will adapt it and flesh it out more with each step. It will evolve some on it's own, through realizations, critical discourse, and exposure, but I will also spend time free writing, reflecting on my work, past, present and future, and observing myself closer. I believe that in my journalling my practice will be clearer as well as personal reflection.

4. What resources do you plan to use? Please include a Resource List (Bibliography and other resources).

Film and animation books

327. Aumont, J. Aesthetics of film 1992
358. Biemann, Ursula. Stuff it : the video essay in the digital age 2003355. Blaetz, Robin. Women's experimental cinema : critical frameworks 2007
351. Bordwell, David, Thompson, Kristin. Film art : an introduction 2001
343. Brakhage, Stan. Film at wit's end : eight avant-garde filmmakers 1989
321. Flynn, Deras, TechTV (Television network) and NetLibrary, Inc. TechTV's guide to creating digital video like a pro 2002
357. Hamlyn, Nicky. Film art phenomena 2003
328. Hoffer, Avi, NetLibrary, Inc. Digital guerrilla video a grassroots guide to the revolution 1999
335. Jacobs, Lewis. The rise of the American film, a critical history. With an essay: Experimental cinema in America, 1921-1947 1968
308. Konigsberg, Ira. The complete film dictionary 1997
316. Laybourne, Kit. The animation book : a complete guide to animated filmmaking, from filp-books to sound cartoons 1979
347. Le Grice, Malcolm. Abstract film and beyond 1977
330. Levitan, Eli L. Handbook of animation techniques 1979
336. Levy, Emanuel. Cinema of outsiders : the rise of American independent film 1999
333. Lipton, Lenny. Independent filmmaking 1972
344. LoBrutto, Vincent. Becoming film literate : the art and craft of motion pictures 2005
296. Lopate, Phillip. American movie critics : an anthology from the silents until now 2006
310. Madsen, Roy P. The impact of film; how ideas are communicated through cinema and television 1973
346. Rees, A. L. A history of experimental film and video : from canonical avant-garde to contemporary British practice 1999
339. Renan, Sheldon. An introduction to the American underground film 1967
320. Stauffer, Todd, Parikh, Nina and NetLibrary, Inc. Get creative! the digital video idea book 2003
332. White, Tony. The animator's workbook 1986

sex in art and film (books and DVDs)

306. Anonymous The Paris review book of heartbreak, madness, sex, love, betrayal, outsiders, intoxication, war, whimsy, horrors, God, death, dinner, baseball, travels, the art of writing, and everything else in the world since 1953 2003
156. Bell, Shannon. Whore carnival 1995
200. Diop Mambéty, Djibril, Rozanès, Alain, Meier, Pierre-Alain, Kino International Corporation and ADR productions. Hyènes Hyenas 1997
199. Flores Silva, Beatriz, Toint, Hubert, Schmitz, Stefan, et al. En la puta vida Tricky life 2004
301. Gibson, Pamela C., Gibson, Roma. Dirty looks : women, pornography, power 1993
191. Godard, Jean L., Karina, Anna, Films de la Pléiade (Paris, France) and Fox Lorber Home Video. Vivre sa vie Film en douze tableaux 1998
190. Green, Alfred E., LeBaron, William, Griffith, Raymond, et al. Forbidden Hollywood collection. Vol. 1 2006
201. Guerra, Ruy, Queffelean, Alain, Papas, Irene, et al. Eréndira 1987
295. Heins, Marjorie. Not in front of the children : "indecency," censorship and the innocence of youth 2001
305. Hersey, George L., NetLibrary, Inc. The evolution of allure sexual selection from the Medici Venus to the Incredible Hulk 1996
303. Holbrook, David. The case against pornography; 1973
304. Hughes, Douglas A. Perspectives on pornography 1970
184. Kauffman, Ross, Briski, Zana, Dreyfous, Geralyn W., et al. Born into brothels 2005
193. León, Fernando, Roures, Jaume, Peña, Candela, et al. Princesas 2007
297. Lucie-Smith, Edward. Race, sex, and gender : in contemporary art 1994
196. Malle, Louis, Carradine, Keith, Sarandon, Susan, Shields, Brooke and Paramount Pictures Corporation. Pretty baby 1994
187. Moknèche, Nadir, Azabal, Lubna, Biyouna, et al. Viva Laldjérie Viva Algeria 2004
294. Paglia, Camille. Sex, art, and American culture : essays 1991
298. Paglia, Camille. Sexual personae : art and decadence from Nefertiti to Emily Dickinson 1991
300. Posner, Richard A. Sex and reason 1992
186. Scorsese, Martin, Hakim, Robert, Hakim, Raymond, et al. Belle de jour 2002
188. Signoret, Simone, Dauphin, Claude, Youb, Samy B., et al. Madame Rosa 1993
181. Singer, Linda, Butler, Judith and MacGrogan, Maureen. Erotic welfare : sexual theory and politics in the age of epidemic 1992
192. Suzuki, Seijun, Tanada, Goro, Shishido, Jo, et al. Nikutai no mon Gate of flesh 2005
189. Teng-Kuei, Yang, Ichiyama, Shozo, Tien-Wen, Chu, et al. Flowers of Shanghai 2001
182. Winterson, Jeanette. Sexing the cherry 1990

5. If you are planning a practicum for this semester, describe what it will be and how you plan to document it. Include a Practicum Proposal with your Study Plan.
1. getting to know you. Building social skills through photography. I will either approach people or set up in a public area where they can approach me and ask them if I may take their picture,I will explain that I am an artist working to try to reconnect with the world, I will explain to them that they will need to sign a consent form in order to have their picture published, that this is for grad school, and that they will be able to view and download their picture online after halloween. If they agree I will give them a business card, one side with the information and a thank you and the other side with a drawing done by me, then I will take a picture, with them holding the business card, showing the artwork and have them tell me something about themselves. The words will be recording along with the date, and place. I want to do this in more than one area, so I would travel to different areas. I would like to gather 500 people. When I have my images I will build a web site that will showcase the people and their interesting facts. In terms of a timeline, I would create my web site, consent forms and business cards in the first packet period and begin arranging for places to stay throughout the 2nd period. The third packet period will be set aside for the main part of the practicum. I will leave the 23rd or 24th of september and spend the next three weeks (or less) traveling to areas that I have never seen, trying to meet new people, photographing them and the landscapes. I will try to post a vlog as often as I can. After returning home I will begin the editing and uploading process. I will hopefully have the web site finished and running by halloween at which point the people who have had their pictures uploaded will be able to evaluate me. Photography is my first love, it has always been with me everywhere I’ve gone. I am more comfortable with a camera in my hands than anything else. Considering the HUGE amount of fear I feel about this project, I want something of a security blanket. I’m not sure how to put this … I want to do a snapshot of the people I meet, if I had a polaroid and enough instant film I would actually use that instead of my digital. Maybe it’s a nostalgia thing, but I envision this as the modern day version of the spring break trip in which you get Polaroid's of all the people you meet, where you put some random fact on each picture to help you better remember who they are.

2. I am the community in need and I am entering into the larger community of the world, I am working toward being able to interact with real people, I am trying to become a better artist and understand what it means to be an artist. I want to create relationships, no matter how brief, and step into the unknown. I am attacking, head on, my fear of other people. I am moving out of my online community and teaching community and into “the real world.” I am looking for the threads of similarities between all people, no matter where they are from, who their god is, or what they look like. This is very hard for me, I am scared to death to do this. I am a very disconnected person in a very disconnected world and I am going to try very hard to reconnect to the living breathing people out there in the community. I believe that this adventure will do that because I feel that I was once a much more outgoing person and I believe that person is just lost. Forcing myself to be outgoing and friendly will help me reconnect with the lost part of myself as well as the lost community that I hide away from. The world has become more fragmented and disconnected as well, there is a general feeling of alienation in many people. The necessity to converse face to face is no longer there, but the need is and it is not being met. So in a way I am fighting and trying to deconstruct the text based world we live in by giving this opportunity to people to reconnect and by so doing fighting my own alienation.

3. My collaborators will be the general public. People that I do not know, that I will have to approach in some way. People that I will engage in a brief relationship based in simply the circumstances that are surrounding us. Making connections in a disconnected world. My intentions are to offer to take everyone’s photograph. I am not judging on place, age, visual context or any other “reason.” My choices will be based on who I encounter. I am not good at approaching people, I‘m not good with people in general. I will create a site once the work is finished to showcase the images and to theorize the similarities between the people from different areas. People will be able to go and see themselves, comment on the photographs, evaluate me as an artist and as a person in which they engaged. THe patrons will walk away with a small piece of art by me and they will be able to have their picture from the internet if they so choose.

4. This is (Hopefully) going to help me become less afraid of socializing. Will give me more experience in meeting people. In order for this to work the way I want it to, I will have to approach strangers and ask them if I can take their pictures. Some people will feel honored and possibly excited, I would like to think they all would, but I am realistic. I imagine I will have to approach aloe of people to get my goal of 500. I imagine many people will not care, they may never even go to the web site. Some will go to the web site and be upset that their picture is up, even if they have signed the consent form. Depending on the area some people will think nothing of having their picture taken (NYC) and other areas I might find a lot of resistance, (rural pennsylvania?) I believe that this experiment has the ability to connect people together. My hope is that many people will go look at the finished web site and be moved by my experience. I plan on posting a vlog detailing the successes and failures of each day.

5. I will need to have permission forms and information cards made so that I can get people’s permission and so that they can see the images for themselves. I will need to stick to adults, no kids or below 18 people. I will need to approach people in a professional respectful manner (WHich is exactly what I am working on.) In some cases I may set up a sign, explaining what I'm doing and allow people to come to me. I will stay in public places when shooting and be sure there is no one else in the frame.

6. I want to video the traveling, take photo’s of the landscapes as well as the people and journal the event as it happens. I will have an area on the web site where people can leave feedback and hopefully some of the people would come on there and leave comment as well. I plan to preface this project with the explanation of my introverted-ness, my issues with people and how it has been a problem in my life, I will offer for people to evaluate me (possibly on video camera) after the shoot. I hope that someone would be inspired to possibly try to face their own fears or they would learn to reconnect. Maybe people would be inspired by the web site to get to know more people. I hope that my children will look on this later in their lives as a time that I really took a step forward to improve myself. I hope that some people will just appreciate the pictures themselves for their artistic value and my work for the emotional value.

7. I will personally feel successful as soon as I take the first picture, but the more I do it, the more experienced I become with people and the more successful I will be as a social person. I will ask the people what they personally got out of the experience after explaining that I am trying to reconnect with the world and give people a new connection. I hope that people will walk away with a new feeling of connectedness. They can answer it on camera, on paper or on the internet, or not at all. I will also leave an area on the web site where people can leave comments. I believe my success will be measured by how I feel about the situation more than anything else. If it becomes too difficult and I give up, I will be less successful, if I continue till I run out of money, time or gas, I will feel more successful.

6. How will the work you are planning for this semester contribute to your MFA-IA Portfolio?
My studies on sex in art and film will be it's own section of my portfolio, along side the larger body of work in which I am working through my own personal artistic issues. The continued exploration into my personal art practice wil generate my artist statement as well as my theories of art and define my art practice further, which is a large part of my portfolio as well. My practicum which will be largely based on personal experiences and furthering myself as an artist, but also reaching out to the community of the world will be a big part as well. My art is largely autobiographical, but I believe it speaks to many on a social level. My journalling which I have been doing since G-1 is another part of my art practice and will be part of my portfolio as well as it showcases more effectively my art practice in its rawest form.

G-2 Study plan

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Briefly identify the fields or disciplines that provide the academic and artistic context of your inquiry:
Odalisque in art
Japanese Pop culture
Doll making

1. How do you envision your work evolving this semester? What direction(s) do you want to move toward? Are there particular themes or concerns that are central to what you want to achieve?

In keeping with my study plan as a whole and the path I was following last semester of learning to build my own art practice, learning to find spirituality in my art, and learning more about myself, I am going to delve into one of my long-held obsessions; the odalisque and prostitutes in art. Researching the questions of this long held art tradition —Why do I like this? Why did they do this? What impact did it have on me? I consider this to be an intregal part of discovering who I am as an artist and therefore what my art practice is, as well as articulating these things better. I will begin by researching the beginnings of the Odalisque in Turkey and how this came to be a genre of paintings still practiced today. I will explore the history of the word “odalisque” and at what point it became synonymous with prostitute, being that is not the origin of the word. Along with this long held obsession is another that has greatly impacted my visual work my entire life and that is the Japanese culture. I will focus mainly on the pop-art and popular culture phenomenon, including, but not limited to, love hotels, fashion, and manga. This is a personal aesthetic as well, and I would like to investigate at what point in my art it became one as well as why I am drawn to this culture. As part of my continuing portfolio work I will be delving into doll making as an artform. I will include aspects of the odalisque and Japanese pop culture in my dolls.

2. What creative and/or written products do you envision emerging from your work this semester? How will you document this?
The work that will evolve from this area of study will be transient in nature, changing and shifting as I learn more about myself and the area’s that I am researching as well as the cultural, social and political context of my work. I will be journaling throughout, which may include writings such as poetry and stories as well as essays, annotations on readings and daily thoughts. It may also include drawings, paintings, sketches, or collages. In my experimentation I may do a video, digital art, digital music piece, or collaborate with another student, depending on my inspiration and the evolution of rituals in my art practice. I envision, possibly, a large scale project at the end incorporating the information from both areas of study and many different media. In this way I am investigating what the meaning of interdisciplinary art means in my art practice. The intention is to create several pieces including dolls that wil be used in an animation/movie.

3. In terms of your intellectual development, what artists, theorists, etc., do you plan to study? Are there other areas of research or inquiry that you plan to explore and how do you see them contributing to your work and creative development?
Some of the painters and sculptors I am going to be looking into are Francois Boucher, Edward Manet, Eugene Delacroix, Jean Auguste Dominique Ingres, Belolov Pavel, Pradier, Horst P. Horst, Jane Bennett, Egor Abramov, Henri Matisse, Egon Shielie, Pietro Sciortino, Pablo Picasso, and Gerhard Richter among others. FIlms I will be looking at include My own private Idaho, Pretty Woman, La Vie En Rose, Borat, Moulin Rouge among others. The books "The womans View" by Jeanine Basinger, "Marked Women"by Lisa Boehm, works by Shannon Bell, and Dostoecsky's works among others. Performance artist Annie Sprinkles, Scarlot Harlot (or Carol Leigh), and Veronica Vera. All of the previous works are related to Prostitutes and the Odalisque in art. I will also be looking into the work of Takashi Murakami, Keiichi Tanaami, and Yoshimoto Nara for japanese pop culture and Sol LeWitt, Mel Bochner, Lawrence Weiner, Joseph Kosuth, and Jenny Holzer for conceptual artists. I know that along the way I will discover other areas that interest me including the history, terminology and aspects that I have not yet considered, as well as being introduced to new artists and writers I have not yet considered.

4. What resources do you plan to use? Please include a Resource List (Bibliography and other resources).

Some books and movies for research on Odalisques, prostitutes and sex

156. Bell, Shannon. Whore carnival 1995
155. Bell, Shannon, NetLibrary, Inc. Reading, writing, and rewriting the prostitute body 1994
197. Bienstock, Ric E., Golubev, Felix, Jacobovici, Simcha, et al. Sex slaves 2006
179. Butler, Judith. Bodies that matter : on the discursive limits of "sex" 1993
204. Coelho, Paulo, Costa, Margaret J. Eleven minutes : a novel 2004
195. Crousillat, José E., Lombardi, Francisco J., Pollarolo, Giovanna, et al. Pantaleón y las visitadoras 2003
200. Diop Mambéty, Djibril, Rozanès, Alain, Meier, Pierre-Alain, Kino International Corporation and ADR productions. Hyènes Hyenas 1997
199. Flores Silva, Beatriz, Toint, Hubert, Schmitz, Stefan, et al. En la puta vida Tricky life 2004
172. Gallagher, Catherine, Laqueur, Thomas W. The Making of the modern body : sexuality and society in the nineteenth century 1987
203. García Márquez, Gabriel. Innocent Eréndira, and other stories 1978
202. García Márquez, Gabriel, Grossman, Edith. Memories of my melancholy whores 2005
191. Godard, Jean L., Karina, Anna, Films de la Pléiade (Paris, France) and Fox Lorber Home Video. Vivre sa vie Film en douze tableaux 1998
190. Green, Alfred E., LeBaron, William, Griffith, Raymond, et al. Forbidden Hollywood collection. Vol. 1 2006
201. Guerra, Ruy, Queffelean, Alain, Papas, Irene, et al. Eréndira 1987
150. Hussey, L. M. Odalisque 1927
194. Iwai, Shunji, Ichihara, Hayato, Oshinari, Shugo, et al. Riri Shushu no subete 2005
147. Kahf, Mohja, NetLibrary, Inc. Western representations of the Muslim woman from termagant to odalisque 1999
184. Kauffman, Ross, Briski, Zana, Dreyfous, Geralyn W., et al. Born into brothels 2005
198. Ki-duk, Kim, Uhi, Lee, Ji-min, Kwak, et al. Samaritan girl a dark tale of revenge 2005
193. León, Fernando, Roures, Jaume, Peña, Candela, et al. Princesas 2007
196. Malle, Louis, Carradine, Keith, Sarandon, Susan, Shields, Brooke and Paramount Pictures Corporation. Pretty baby 1994
148. McIntosh, Fiona. Odalisque 2007
149. Miller, Jane. American odalisque : poems 1987
187. Moknèche, Nadir, Azabal, Lubna, Biyouna, et al. Viva Laldjérie Viva Algeria 2004
154. Nguyen, Gia T., Vu, Trung L. The complaints of an odalisque : the loneliness and vision of life of a beautiful girl confined in a King's harem … 1986
185. Phoenix, River, Reeves, Keanu, Russo, James, et al. My own private Idaho 2005
177. Poovey, Mary. Uneven developments : the ideological work of gender in mid-Victorian England 1989
178. Poovey, Mary. Scenes of an indelicate character : the medical treatment of Victorian women 1985
186. Scorsese, Martin, Hakim, Robert, Hakim, Raymond, et al. Belle de jour 2002
188. Signoret, Simone, Dauphin, Claude, Youb, Samy B., et al. Madame Rosa 1993
181. Singer, Linda, Butler, Judith and MacGrogan, Maureen. Erotic welfare : sexual theory and politics in the age of epidemic 1992
192. Suzuki, Seijun, Tanada, Goro, Shishido, Jo, et al. Nikutai no mon Gate of flesh 2005
153. Szereto, Mitzi. Foreign affairs : erotic travel tales 2004
189. Teng-Kuei, Yang, Ichiyama, Shozo, Tien-Wen, Chu, et al. Flowers of Shanghai 2001
180. Thornham, Sue. Feminist film theory : a reader 1999
152. Voltaire, Clyboret, M. The odalisque 1928
183. Winterson, Jeanette. Written on the body 1994
182. Winterson, Jeanette. Sexing the cherry 1990

Books and movies on Japanese Pop Art and sex

167. Alloway, Lawrence, Livingstone, Marco, Ogawa, Masataka, Odakyu Gurando Gyarari and Buren Torasuto. Poppu ato 1987
164. Arai, Kiyoko, Hubbard, Amanda and Nishida, Miho. Beauty pop. Vol. 5 2007
161. Brehm, Margrit F., Ursula Blickle Stiftung. The Japanese experience—inevitable 2002
162. Craig, Timothy J., King, Richard and 1951 Feb. 5-. Global goes local : popular culture in Asia 2002
165. Hamada, Nobuhide. Fresh pulp : dispatches from Japanese pop culture front (1997-1999) 1999
157. Hernandez, Lea. Manga secrets 2005
194. Iwai, Shunji, Ichihara, Hayato, Oshinari, Shugo, et al. Riri Shushu no subete 2005
169. Kayukawa, Yumiko. The wild kingdom of Yumiko Kayukawa 2006
158. Lent, John A. Asian popular culture 1995
159. Lloyd, Fran. Consuming bodies : sex and contemporary Japanese art 2002
173. Murakami, Haruki, Rubin, Jay. After dark 2007
168. Murakami, Takashi. Super flat 2000
171. Murasaki Shikibu, b. 9. The tale of Genji; a novel in six parts, Uniform Title: Genji monogatori. English 1960
163. Nara, Yoshitomo, Chambers, Kristin and Museum of Contemporary Art Cleveland. Nothing ever happens 2003
170. Sei Shonagon, b. c. 9., Morris, Ivan I. The pillow book of Sei Shonagon. Uniform Title: Makura no soshi. English 1967
166. Shinjo, Mayu, DeConnick, Kelly S. Sensual phrase. Vol. 8 2005
192. Suzuki, Seijun, Tanada, Goro, Shishido, Jo, et al. Nikutai no mon Gate of flesh 2005
189. Teng-Kuei, Yang, Ichiyama, Shozo, Tien-Wen, Chu, et al. Flowers of Shanghai 2001

Books on Doll Making

215. Better Homes and Gardens Books. Old-fashioned dolls and toys 1992
230. Gourley, Miriam. Crafting cloth dolls : a pageant of patterns, techniques, and ideas from award-winning dollmakers 2002
216. Gourley, Miriam. Cloth dolls : how to make them 1991
227. Hertzi, Lisa-Li. Art doll adventures : exploring projects and processes through cultural traditions 2007
221. Janitch, Valerie. The complete pattern book of soft dolls 1992
214. Janitch, Valerie. The fairytale doll book 1988
209. Jones, G. P. Easy-to-make dolls with nineteenth-century-costumes 1977
224. Le Van, Marthe. Making creative cloth dolls 2002
223. Medaris Culea, Patti. Creative cloth doll making : new approaches for using fibers, beads, dyes, and other exciting techniques 2003
220. Moran, Paul. 50 character dolls to make at home 1991
225. Oroyan, Susanna. Designing the doll : from concept to construction 1999
229. Oroyan, Susanna. Anatomy of a doll 1997
226. Piper, Eloise, Dilligan, Mary. Creating & crafting dolls : patterns, techniques, and inspirations for making cloth dolls 1994
218. Rainey, Rhonda. Creative paper dollmaking 2003
228. Shrader, Valerie V. A. 500 handmade dolls : modern explorations of the human form 2007
222. Suwa, Shigeo, Suwa, Shizuko, Joint Author, Ando, Cheryl and Kanai, Ran. Japanese paper dolls : shimotsuke hitogata 1976
219. van Steenderen, Lia. Making dolls and dolls' clothes : 76 complete patterns for dolls and dolls' outfits 1988

5. If you are planning a practicum for this semester, describe what it will be and how you plan to document it. Include a Practicum Proposal with your Study Plan.
n/a

6. How will the work you are planning for this semester contribute to your MFA-IA Portfolio?
My work is leading me back to my initial interest in becoming more of an artist. I am still working on my main project which is the fairytale that includes archtypal patterns and this work is small part of that larger piece that I believe will become my portfolio in the end. The dolls will become the characters from the stories as well as the players in the eventual movie/animation.

G-1 Study Plan

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Briefly identify the fields or disciplines that provide the academic and artistic context of your inquiry:
Art
Dance
Writing

1. How do you envision your work evolving this semester? What direction(s) do you want to move toward? Are there particular themes or concerns that are central to what you want to achieve?

This semester I would like to focus on myself growing as an artist. One major personal issue I would like to over come is anger management. I would like to find the “walls” that are holding me back and tear them down, the walls that are stopping me from being as creative as possible. My main focus this semester is to “become” an artist again and reclaim my practice. My main themes that I think will be most helpful are spirituality and a sense of ritual. By spirituality I am speaking not in terms of religion but in terms of inner peace, inner belief in myself and the world around. By ritual I am referring to a specific act or acts in order to create a sense of peace, in my mind spirituality and ritual go hand in hand. I want to document my pilgrimage to the places that I believe hold significance for me. Specific places in my recent past that I feel I left something. I will document with Video as well as writing, photographs and possibly dance.

2. What creative and/or written products do you envision emerging from your work this semester? How will you document this?

My intention is to create a series of illustrations along with a “story book” that tells my story of Trauma and loss in a childlike way. Along with the book there will be a multimedia piece which incorporates the video from the pilgrimage, the illustrations from the book and the story as well. These are to facilitate the “reclaiming of my practice” as well as to help me heal and recover through art from my negative experiences. Also in my research and newly learned knowledge I will write reflection on the things I read, see, watch and encounter, a separate more formal journaling of the art around. I will send along the documentation in photo or video form.

I plan on researching spirituality, ritual use, mythology, writing styles and illustrators. Some illustrators I plan on studying are Edward Gorey. Lane Smith, Charles Addams, Gris Grimly, Maurice Sendak,. Some of the writers and story styles that I am looking at are Lewis Carroll, C.S. Lewis, Lemony Snickett, Roald Dahl, Jon Scieszka, Marina Warner, and Madeleine L'Engle. Some philosophers I will be looking at (on their theory of soul) are Aristotle, Plato, and Descartes among others. The study of ritual and different spiritualities will give me a better understanding of how to create the ritual. I want to study the different aspects of spirituality, for myself personally, not focusing on one specific area and creating my own conglomeration of the spiritual which I will then tailor my own rituals for the specific events and places that I am going. Some of the authors that I am looking at for this practice are Mercia Eliade, James Gollnick, Don Handeiman, Harold Klemp, and Martin Rossman.

4. What resources do you plan to use? Please include a Resource List (Bibliography and other resources).

Most of my resources will be books, magazines and Internet. I may conduct a few interviews, but basically the resources are listed below.

Works Cited

Campbell, Joseph. Transformations of Myth through Time. 1st ed. New York: Perennial Library, 1990.

"Content that Extends Beyond the Magazine: Video Demonstrations and More." American Artist 71.777 (2007): 8-.

Doty, William G. Mythography : The Study of Myths and Rituals. University, Ala: University of Alabama Press, 1986.

Eliade, Mircea, Joseph Mitsuo . Kitagawa, and Charles H. ed. Long. Myths and Symbols; Studies in Honor of Mircea Eliade. Chicago: University of Chicago Press, 1969.

Elisofon, Eliot Watts, Alan. Erotic Spirituality; the Vision of Konarak. New York: Macmillan, 1971.

Evans, Donald D. Spirituality and Human Nature. Albany: State University of New York Press, 1993.

Gollnick, James. Love and the Soul : Psychological Interpretations of the Eros and Psyche Myth.

Waterloo, Ont., Canada: Published for the Canadian Corporation for Studies in Religion/Corporation canadienne

des sciences religieuses by Wilfrid Laurier University Press, 1992.

Gorey, Edward Wilkin, Karen. Ascending Peculiarity : Edward Gorey on Edward Gorey : Interviews. 1st ed. New York: Harcourt, 2001.

Gorey, Edward. The Broken Spoke. New York: Dodd, Mead, 1976.

—-. Category : Fifty Drawings. New York, N.Y: Adama Books, 1986.

—-. Gorey Posters. New York: H. N. Abrams, 1979.

Griffin, David Ray. Parapsychology, Philosophy, and Spirituality : A Postmodern Exploration. Albany: State University of New York Press, 1997.

Handeiman, Don. "Why Ritual in its Own Right? how so?" Social Analysis 48.2 (2004): 1-32.

Harrison, Jane Ellen. Ancient Art and Ritual. New York: Greenwood Press, 1969.

Klemp, Harold. Klemp,Joan.Pezdirc, Anne. Journey of Soul. 2nd ed., newly rev ed. Minneapolis, MN: Eckankar, 1996.

Kushner, David. "Zero's Heroes." Rolling Stone.1024 (2007): 34-.

Leggett, Mike. "Interzone: Media Arts in Australia." Leonardo 39.5 (2006): 487-8.

Lindquist, Galina. "Bringing the Soul Back to the Self." Social Analysis 48.2 (2004): 157-73.

Lonsdale, Steven. Dance and Ritual Play in Greek Religion. Baltimore, Md: Johns Hopkins University Press, 1993.

Manning, Kathleen. Ritual, Ceremonies, and Cultural Meaning in Higher Education. Westport, Conn: Bergin & Garvey, 2000.

McDermott, Kevin Gorey, Edward. Elephant House, Or, the Home of Edward Gorey. San Francisco, Calif: Pomegranate, 2003.

Meerloo, Joost Abraham Maurits. The Dance, from Ritual to Rock and Roll—Ballet to Ballroom. Uniform Title: Dance Craze and Sacred Dance.

1st American ed. ed. Philadelphia: Chilton Co., Book Division, 1960.

Moore, Sally Falk, and Barbara G. Myerhoff. Secular Ritual. Assen: Van Gorcum, 1977.

Moore, Thomas. Dark Nights of the Soul : A Guide to Finding Your Way through Life's Ordeals. New York: Gotham Books, 2004.

Murray, Henry Alexander. Myth and Mythmaking. New York: G. Braziller, 1960.

Poissant, Louise. The Encyclopedia of New Media Arts. Vol. 39. MIT Press, 2006.

Randour, Mary Lou. Women's Psyche, Women's Spirit : The Reality of Relationships. New York: Columbia University Press, 1987.

Rapoport, Sonya. "Digitizing the Golem: From Earth to Outer Space." Leonardo 39.2 (2006): 117-24.

Reis, Elizabeth. Spellbound : Women and Witchcraft in America. Wilmington, Del: Scholarly Resources, 1998.

Riippa, Laurele, et al. "Hardcover New Age." Publishers Weekly 252.4 (2005): 164-.

Rodriguez, Jeanette. "Mestiza Spirituality: Community, Ritual, and Justice." Theological Studies 65.2 (2004): 317-39.

Ross, Clifford Wilkin, Karen. Peltason,Ruth A. The World of Edward Gorey. New York: Harry N. Abrams, 1996.

Ross, Clifford Wilkin, Karen. The World of Edward Gorey. New York ; London: Harry N. Abrams, 2002.

Rossman, Martin L. Rossman,Martin L., and Healing yourself. Guided Imagery for Self-Healing : An Essential Resource for Anyone Seeking Wellness.

2nd ed. Tiburon, Calif; Novato, Calif: H J Kramer; New World Library, 2000.

Sorell, Walter. The Dance through the Ages. New York: Grosset & Dunlap, 1967.

Sperry, Len. Shafranske,Edward P. Spiritually Oriented Psychotherapy. Washington, DC: American Psychological Association, 2005.

Taylor, Eugene. Shadow Culture : Psychology and Spirituality in America. Washington, D.C: Counterpoint, 1999.

Theroux, Alexander. The Strange Case of Edward Gorey. 1st Fantagraphics ed. Seattle, WA: Fantagraphics Books, 2000.

Torgovnick, Marianna. Primitive Passions : Men, Women, and the Quest for Ecstasy. 1st ed. New York: Alfred A. Knopf : Distributed by Random House, Inc, 1997.

Torres, Lauren. "Soul Retrieval." 01/23/07 2007. <http://www.shamanlinks.net/Soul_Retrieval.htm>.

5. If you are planning a practicum for this semester, describe what it will be and how you plan to document it. Include a Practicum Proposal with your Study Plan.
later

6. How will the work you are planning for this semester contribute to your MFA-IA Portfolio?

I hope that the process will make me a better and more understanding artist thus directly relating to my future artwork and I hope that the documentation becomes a work of art in itself, creating a discourse on spirituality and creativity as well as possibly a method of self-healing through art. Through my practice I will also be improving my own skills, creating and reclaiming my artistic practice as such and improving my skills an artist.

SPAW

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Student's Name: Jennifer Love Total # of Semester Hour Credits to Be Earned: 60
Advisor's Name: Erica Eaton Number of Planned Semesters: 5
Degree Program: Interdisclipinary Arts MFA-VT Concentration, if any:
Amended Study Plan: No

Guidelines: You develop this detailed plan in conferences with your faculty advisor and perhaps with other students with similar interests. The plan is a study contract that states specifically what your goals are, what you want to learn and why, and how you will go about achieving these goals. You and your advisor must agree upon the plan. THIS STUDY PLAN MAY BE USED AS PART OF AN INTERIM TRANSCRIPT. Please take care in its preparation.

Briefly identify the fields or disciplines that provide the academic and artistic context of your inquiry:

Art
Dance
Writing
In writing your Study Plan as a Whole, please refer to the MFA-IA Degree Criteria, and consider the following questions:

Overall Goals: Broadly, what do you hope to achieve by the time you are ready to graduate? What themes, metaphors, life interests or fields are prominent in your practice or that you wish to explore? We suggest that you start with assessing the current state of your artistic practice. Then describe the direction in which you would like your art work to evolve. What skills and knowledge will you need to gain to support that growth?

I want to ach

I want to achieve the station and stability in life where I am able to support myself financially through my art. This could include teaching in a university or community college, working in an art field such as graphic design or creating work that will in itself support my family and me. Contrast of themes, having something where it doesn’t belong, creating an experience that makes the audience slightly uncomfortable due to the displacement of some object or person is a recurring theme in my work. Color as life and breath, movement as words, sounds as imagery are all metaphors that can be found in my work. My life interests… I am concerned narcissistically in fact, with my children and myself. The experiences that we as a family have been through and I as a mother and woman have been through. I however believe that although indulgent in nature the experiences I have been through can easily be understood and experienced by others. I leave my art open to interpretation. There is no right or wrong. It means one thing to me, but it can mean something different to someone else. Areas that I wish to explore are on a personal level. Understanding myself, life, and the events that occur, the reactions of other people to me, emotions, and spirituality. My art will be a method in which to understand myself through the ritual of art. My spirituality will be revealed to myself and possibly others in my art and in the process of my art. I believe that we cannot help others if we cannot even help ourselves, and how are we to help ourselves if we don’t even understand who we are. I would like to experiment more with the techniques and mediums I am already using. Although I have worked in them, I feel like my exposure has been quite minimal and I would like to see what else is possible with what I have a base knowledge of. Online tutorials in photoshop, corel draw, dreamweaver, flash and fireworks are some ideas for advancing my technology knowledge. Dance, painting, drawing and sculpture classes could help advance my knowledge in those areas.

Intellectual/Critical Development: How will you develop or strengthen your knowledge base in contemporary art and its evolution? What other areas of inquiry do you plan to research to support your individual practice?

I intend to continue learning about new artists and their works and processes through art shows, both online and actual, art journals, periodicals and magazines, online forums and discussions. Spirituality, philosophy, imagination, sociology, and history are all areas from which I am currently learning and growing. Learning about spirituality will, I hope, help me to understand my own experiences and spirituality better, as well as help me to articulate through my art the things that I deeply feel are part of my spirituality. Through philosophy I will try to learn more about the nature of man and the soul, contributing again to my own growth and I believe it will show itself in my art as well. Imagination and creativity studies will help me to articulate, I believe, some of my mental road blocks and therefore help me to over come them which is what my studies are about. Sociology has always been a very intriguing subject for me. I believe that many of my issues come from problems I have encountered in society and I would like to learn more to help me understand myself as well as my art and others too. Finally History, where I receive much of my inspiration, through the strength of others who have gone through situations similar to mine and harder, the knowledge that people have fought back and won, that we are not always brought down, is a great source for myself and my art. Books, articles, movies and discussions are all means in which I am learning.

Resources: What resources will you use to enhance your artistic and intellectual development? Mention reading and writing, library, gallery or museum research, courses you may wish to take, workshops and conferences you may wish to attend, persons you hope to interview or consult, and agencies or organizations with which you might do practicum work. Include a separate Resource List (Bibliography and other resources).

I would like t

I would like to try to go to the “Brick and Mortar Consortium” at UNCP, creative writing and poetry class, digital art online seminars, photography clubs and workshops, art galleries, and artist workshops. I would like to work with Dr. Labadie from UNCP and possibly some other professors from ECU or UNC. Following is a bibliography of some books and articles I would like to use:

Arrien, Angeles. "Four Basic Archetypal Ways found in Shamanic Traditions." ReVision 13.2 (1990): 59.

Bial, Raymond. "Tracey Emin: Works 1963-2006." Library Journal 132.4 (2007): 80-.

Bulkeley, Kelly. Soul, Psyche, Brain : New Directions in the Study of Religion and Brain-Mind Science. 1st ed. New York: Palgrave Macmillan, 2005.

Campbell, Joseph. Transformations of Myth through Time. 1st ed. New York: Perennial Library, 1990.

"Content that Extends Beyond the Magazine: Video Demonstrations and More." American Artist 71.777 (2007): 8-.

Doty, William G. Mythography : The Study of Myths and Rituals. University, Ala: University of Alabama Press, 1986.

Eliade, Mircea, Joseph Mitsuo . Kitagawa, and Charles H. ed. Long. Myths and Symbols; Studies in Honor of Mircea Eliade. Chicago: University of Chicago Press, 1969.

Elisofon, Eliot Watts, Alan. Erotic Spirituality; the Vision of Konarak. New York: Macmillan, 1971.

Evans, Donald D. Spirituality and Human Nature. Albany: State University of New York Press, 1993.

Ferrer, Jorge N. Revisioning Transpersonal Theory : A Participatory Vision of Human Spirituality. Albany: State University of New York Press, 2002.

Firman, John Gila, Ann. Psychosynthesis : A Psychology of the Spirit. Albany: State University of New York Press, 2002.

Gadon, Elinor W. The Once and Future Goddess : A Symbol for our Time. New York: Harper & Row, 1989.

Gargiulo, Gerald J. Psyche, Self, and Soul : Rethinking Psychoanalysis, the Self, and Spirituality. London ; Philadelphia: Whurr Publishers, 2004.

Gollnick, James. Love and the Soul : Psychological Interpretations of the Eros and Psyche Myth. Waterloo, Ont., Canada: Published for the Canadian Corporation for Studies in Religion/Corporation canadienne des sciences religieuses by Wilfrid Laurier University Press, 1992.

Gorey, Edward Wilkin, Karen. Ascending Peculiarity : Edward Gorey on Edward Gorey : Interviews. 1st ed. New York: Harcourt, 2001.

Gorey, Edward. The Broken Spoke. New York: Dodd, Mead, 1976.

—-. Category : Fifty Drawings. New York, N.Y: Adama Books, 1986.

—-. Gorey Posters. New York: H. N. Abrams, 1979.

Griffin, David Ray. Parapsychology, Philosophy, and Spirituality : A Postmodern Exploration. Albany: State University of New York Press, 1997.

Handeiman, Don. "Why Ritual in its Own Right? how so?" Social Analysis 48.2 (2004): 1-32.

Harrison, Jane Ellen. Ancient Art and Ritual. New York: Greenwood Press, 1969.

Harvey, Graham. Contemporary Paganism : Listening People, Speaking Earth. Washington Square, N.Y: New York University Press, 1997.

Hays, Peter L. The Limping Hero; Grotesques in Literature. New York: New York University Press, 1971.

Herbert, Steven G. "Many Mansions of the Human Soular Complex." Journal of Religion & Psychical Research 27.1 (2004): 47-56.

Hieb, Marianne. Inner Journeying through Art-Journaling : Learning to See and Record Your Life as a Work of Art. London ;; Philadelphia: J. Kingsley Publishers, 2005.

Hoffman, Thomas J. "Moving Beyond Dualism: A Dialogue with Western European and American Indian Views of Spirituality.." Social Science Journal 34.4 (1997): 447.

Hume, David. Smith,Norman Kemp. Dialogues Concerning Natural Religion and the Posthumous Essays, of the Immortality of the Soul and of Suicide. Indianapolis: Bobbs-Merrill, 1981-1947.

Jenkins, Philip. Dream Catchers : How Mainstream America Discovered Native Spirituality. Oxford ;; New York: Oxford University Press, 2004.

Johnston, Sarah Iles. Religions of the Ancient World : A Guide. Cambridge, Mass: Belknap Press of Harvard University Press, 2004.

Klemp, Harold. Klemp,Joan.Pezdirc, Anne. Journey of Soul. 2nd ed., newly rev ed. Minneapolis, MN: Eckankar, 1996.

Kushner, David. "Zero's Heroes." Rolling Stone.1024 (2007): 34-.

Leggett, Mike. "Interzone: Media Arts in Australia." Leonardo 39.5 (2006): 487-8.

Lesser, Elizabeth. The Seeker's Guide : Making Your Life a Spiritual Adventure. 1st pbk. ed. New York: Villard, 1999.

Lewis, Sheldon. "Entering our Broken Hearts: Guided Imagery for Posttraumatic Stress—an Interview with Belleruth Naparstek." Advances in Mind-Body Medicine 21.1 (2005): 29-32.

Lindquist, Galina. "Bringing the Soul Back to the Self." Social Analysis 48.2 (2004): 157-73.

Lonsdale, Steven. Dance and Ritual Play in Greek Religion. Baltimore, Md: Johns Hopkins University Press, 1993.

Manning, Kathleen. Ritual, Ceremonies, and Cultural Meaning in Higher Education. Westport, Conn: Bergin & Garvey, 2000.

McDermott, Kevin Gorey, Edward. Elephant House, Or, the Home of Edward Gorey. San Francisco, Calif: Pomegranate, 2003.

Meerloo, Joost Abraham Maurits. The Dance, from Ritual to Rock and Roll—Ballet to Ballroom. Uniform Title: Dance Craze and Sacred Dance. 1st American ed. ed. Philadelphia: Chilton Co., Book Division, 1960.

Moore, Sally Falk, and Barbara G. Myerhoff. Secular Ritual. Assen: Van Gorcum, 1977.

Moore, Thomas. Dark Nights of the Soul : A Guide to Finding Your Way through Life's Ordeals. New York: Gotham Books, 2004.

Murray, Henry Alexander. Myth and Mythmaking. New York: G. Braziller, 1960.

Palmer, Parker J. A Hidden Wholeness : The Journey Toward an Undivided Life : Welcoming the Soul and Weaving Community in a Wounded World. 1st ed. San Francisco, CA: Jossey-Bass, 2004.

Patton, Kimberley C., and Ray Benjamin C. A Magic Still Dwells : Comparative Religion in the Postmodern Age. Berkeley, Calif: University of California Press, 2000.

Pearce, Joseph Chilton. The Biology of Transcendence : A Blueprint of the Human Spirit. Rochester, Vt: Park Street Press, 2002.

Peck, M. Scott. The Road Less Traveled : A New Psychology of Love, Traditional Values, and Spiritual Growth. New York: Simon and Schuster, 1978.