1. U NIT E IGHT : W RITING IN THE AGE OF THE IMAGE

2. A BOUT B ARBARA K RUGER

3. A BOUT H ER W ORK

4. R ESPONSE #1 W HAT DO YOU THINK K RUGER IS TRYING TO SAY IN THIS PIECE ? D OES THE IMAGE SUBVERT OR REINFORCE THE WORDS ? E XPLAIN. H OW DO YOU CHARACTERIZE THE RELATIONSHIP OF WORDS TO ILLUSTRATION IN THIS IMAGE ?

5. R ESPONSE #2: 1. W HO IS THE POSTER ADDRESSING ? 2. W HAT IS THE “ BATTLE ” TO WHICH K RUGER IS REFERRING ? 3. H OW IS DUALITY REPRESENTED HERE ? 4. W HAT DOES THE USE OF THE “ NEGATIVE ” SPACE BRING TO THE WORK ?

6. R ESPONSE 2 C ONTINUED ….

7. R ESPONSE #3 : S EE HANDOUT ENTITLED “T HE A RT OF B ARBARA K RUGER ” 1. H OW DOES THE HAND “ HOLDING ” IT REFLECT THE IDEA K RUGER MIGHT BE PORTRAYING ? 2. I S SHE MAKING A STATEMENT, OR IS THE IMAGE AN ADVERTISEMENT IN ITSELF ? S UPPORT YOUR RESPONSE.

8. R ESPONSE #4 : S EE HANDOUT ENTITLED “T HE A RT OF B ARBARA K RUGER ” 1. W HY IS THIS WOMAN CRYING ? 2. H OW DOES THE MIRROR REFLECT THAT ? 3. H OW DOES THE WORD “NOT” PLAY INTO THE PIECE ?

10. R ESPONSE #5 : S EE HANDOUT ENTITLED “T HE A RT OF B ARBARA K RUGER ” 1. W HAT DO YOU “ SEE ” WHEN YOU LOOK AT THIS IMAGE ? 2. H OW DO YOU THINK HE FEELS, AND WHY DO YOU THINK THAT ? 3. H OW IS THE TEXT INTEGRATED INTO THE PIECE.? D OES IT REINFORCE THE CONCEPT ? E XPLAIN.

11. A SSIGNMENT : TEST G RADE !!!! C REATE YOUR OWN C ONCEPTUAL PIECE OF ART BASED ON WHAT YOU SAW TODAY. E XPLORE AN IDEA THAT IS MEANINGFUL AND DEFINES SOMETHING ABOUT “ YOU.” C OLLECT IMAGES. C UT AND PASTE LETTERS OR WORDS TO EXPRESS YOUR THOUGHTS ON THE SUBJECT BY MEANS OF TEXT. T RY TO FIND BLACK AND WHITE PHOTOS ; USE COLOR AS A LAST ALTERNATIVE. R EFER TO NOTES AND K RUGER ’ S WORK FOR EMULATION PURPOSES. R EFER TO RUBRIC : C ONCEPTUAL A RT

13. J OURNAL #1: C HOOSE ANY TWO PIECES BY B ARBARA K RUGER, AND ANALYZE HOW THE IMAGE AND THE INCORPORATION OF TEXT IN EACH PIECE WORK TOGETHER HARMONIOUSLY TO CREATE A STATEMENT.

14. A SSIGNMENT : R EAD R OBERT P INSKY ’ S POEM ENTITLED “O N T ELEVISION.” S EE HANDOUT.

15. R ESPONSE #1: P INSKY C ONSIDER THE PHRASES P INSKY USES TO REFER TO TELEVISION : “ WINDOW ON THE WORLD,” “ BOX,” “ TUBE,” AND “ TERRARIUM OF DREAMS AND WONDERS.” I DENTIFY THE DIFFERENCES AMONG THESE METAPHORS. W HAT CULTURAL FUNCTIONS DO THEY SUGGEST ABOUT TELEVISION ?

16. R ESPONSE #2: P INSKY S TUDY THE FOLLOWING PICTURES FROM T HE S IMPSONS.” W HAT DO THE IMAGES SAY ABOUT THE POSSIBLE ROLE FOR TELEVISION IN DOMESTICATED LIFE ACCORDING TO M ATT G ROENING ’ S CARTOONS ?

17. R ESPONSE #3: P INSKY W ITH YOUR GROUP MEMBERS, WRITE DOWN AS MANY ALLUSIONS THAT YOU RECOGNIZE IN THE FOLLOWING IMAGES …

18. R ESPONSE #3 ( MORE ROOM IF NEEDED ) W ITH YOUR GROUP MEMBERS, WRITE DOWN AS MANY ALLUSIONS THAT YOU RECOGNIZE IN THE FOLLOWING IMAGES …

19. J OURNAL T OPIC #2 R EFER TO HANDOUT ENTITLED “A NALYZING T ELEVISION IN C ONTEMPORARY A MERICAN C ULTURE.” I N A SENSE, TELEVISION HAS BECOME A FOCAL POINT, AS WELL AS A VEHICLE, FOR ANALYZING CONTEMPORARY A MERICAN CULTURE. B ECAUSE PEOPLE OFTEN WATCH TELEVISION TOGETHER, IT CAN SERVE AS A SOCIAL EVENT. I T CAN ALSO SERVE AS A SHARED CULTURAL REFERENCE. D RAFT A JOURNAL IN WHICH YOU ANALYZE NOT ONLY HOW BUT ALSO THE EXTENT TO WHICH TELEVISION SHOWS HAVE BECOME PART OF OUR CULTURAL LANDSCAPE.

20. Response #1 What does Giltlin mean when he talks about “information”? Where, and how, do you see the word used in similar or different situations?

21. R ESPONSE #2 R E - READ PAR. 2. W HAT EVIDENCE OF THIS CHARACTERIZATION DO YOU SEE AMONG YOUR PEERS ? W ITHIN YOURSELF ?

22. R ESPONSE #3 G IVEN YOUR EXPERIENCE AND THAT OF YOUR PEERS, IN WHAT AREAS ARE ENTERING STUDENTS NOT WELL PREPARED ? W HY OR WHY NOT ?

23. A SSIGNMENT : S EE HANDOUT R EAD “S INCE W HEN D ID USA TODAY B ECOME THE N ATIONAL D ESIGN I DEAL ?”

24. R ESPONSE #1: M ICHAEL R OCK L OOK AGAIN AT PARAGRAPH ONE. W HAT DOES “ ACCESSIBLE ” MEAN ? A CCESSIBLE TO WHOM ? H OW DOES THE LOOK OF USA T ODAY SHIFT THE EMPHASIS FROM NARRATIVE TO IMAGE IN CONVEYING CONTENT, AND HOW DOES THIS SHIFT PRODUCE WHAT R OCK CALLS “ THE DESIGN EQUIVALENT OF THE VIDEO SOUND - BYTE ”?

25. R ESPONSE #2: M ICHAEL R OCK I N WHAT WAYS, THEN, DOES READING USA T ODAY RESEMBLE WATCHING TELEVISION ?

26. J OURNAL # 3 S EE HANDOUT E NTITLED “A D ESTRUCTION OF T RADITIONAL N ARRATIVE I DEALS.” R OCK ARGUES THAT THE DESIGN OF USA T ODAY AFFECTS CONTENT AND “ REPRESENTS A DESTRUCTION OF TRADITIONAL NARRATIVE IDEALS.” D RAFT A JOURNAL ENTRY IN WHICH YOU DEFEND OR CHALLENGE R OCK ’ S ASSERTION THAT THE TREND IN TYPOGRAPHY “ IS CLEARLY TOWARDS A DESTRUCTION OF NARRATIVE TEXT, WITH IMAGES INCREASINGLY RESPONSIBLE FOR CARRYING THE CONTENT.”

27. A BOUT D AVID C ARSON …

28. D EFINITION : G ENERATION X

29. R ESPONSE #1: D AVID C ARSON W HAT DOES C ARSON GAIN OR LOSE BY SEEMING TO VIOLATE THE RULES AND CONVENTIONS OF GRAPHIC DESIGN ? H OW MIGHT YOU ACCOUNT FOR THE ENORMOUS APPEAL OF HIS DESIGNS AMONG READERS DESCRIBED AS MEMBERS OF G ENERATION -X?

31. J OURNAL #4 C HOOSE ANY FILM OR MUSIC VIDEO THAT IS CONSIDERED TO BE IN THE “G ENERATION X” CATEGORY. A NALYZE THE FILM OR VIDEO IN RELATION TO THE VALUES OF A GENERATION AND / OR DECADE.