Curriculum Vitae — JEN MAGATHAN
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An emphasis on traditional and digital craft helps students to enhance visual and verbal articulation.
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The course involved study in how graphic design responded to and affected international, social, political, and technological developments since In addition to the lectures, the course had a scheduled studio section in which design projects were integrated with research. Instructor for Introduction to Graphic Design, Winter Instructor of an undergraduate course which introduced the fundamental practices and processes of graphic design.
The intent of the course was to have students gain an understanding of what graphic design is, and its purpose. Through a series of exercises based on printed matter such as postcards, signs, posters, and books, students were not only introduced to a basic level of typography, color, and grids, but also diverse graphic forms and methods of storytelling.
This course was structured around slide lectures which gave a condensed overview of the history of graphic design and various contemporary examples of design. Short format projects were used as a means to explore basic graphic design vocabulary to familiarize the student with the different stages of process, and give a broad technical foundation.
Co-taught with Mary Banas.
Study emphasis was on integrative communication activity of all elements involved, e. Teaching Assistant for History of Graphic Design, Summer Graduate Teaching Assistant to Doug Scott for History of Graphic Design, an undergraduate chronological survey of graphic design through slide lectures see above for course description.
Teaching Assistant for Typography 3, Fall Graduate Teaching Assistant to Kris Lenk for Typography 3, which is a course where students explore advanced problems in typography, such as: Teaching Assistant for Color, Spring Graduate Teaching Assistant to Aki Nurosi for Color, an undergraduate course developed as a series of experiences devoted to the development of the perception of color and its use as a tool for the graphic designer.
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Your headlights must be on when: Driving between sunset and sunrise At any other time when there is not enough daylight to be able to see a person wearing dark clothing at a distance of metres High beam To see further ahead use your headlights on high beam on any road even if there are street lights. You must dip your headlights to low beam: When a vehicle coming toward you is within metres: When driving metres or less behind another vehicle: The piece also explodes the myth of the model minority, contradicting the fallacy that Asians are quiet, well-behaved and aligned with social conventions.
Also included in the installation are a number of names on the gallery wall of various Asian Americans who in various ways have distinguished themselves, emphasizing the diversity of a community too often stereotyped as one-dimensional.
In Destiny, the war at home was the subject of this short, impressionistic response to Operation Desert Storm, examining the jingoism and the silencing of dissent in the United States during the conflict in the Gulf. An American Princess10 min. A Re Educational Videotape ,12 min. Picturing Oriental Girls is fiiled with geisha girls, china dolls and dragon ladies populating a visual compendium of representations of Asian women in American film and television.
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Juxtaposed with text from mail-order bride catalogs, men's magazines and popular literature, these clips from over 25 films and television programs explicate the orientalism and exoticism prevalant in mass media images of "oriental girls. Patrons and vendors at the Heart of the City Farmers' Market were asked to recite their favorite recipe in their native language, with the help of translators speaking Cantonese, Cambodian, Vietnamese, Laotion, Spanish, Tagalog and English.
The edited interviews, along with a second, silent video channel playing quotes about food, were then exhibited at the Market.
Mixed Bloodinteractive video installation Mixed Blood takes a personal view of interracial relationships in the Asian American community, examining some of the motivations behind cross-cultural intimacy, and the attitudes and reactions from Asians and non-Asians involved.
Combining interviews with over 30 concerned individuals, text, and clips from classic miscegenation dramas such as The World of Suzie Wong and Sayonara, this videotape explores the complexities of intimate emotional and sexual choices becoming public and political statements.
Participants were asked to share their faviorite phobia and categorize it according to an element earth, air, water, fire. They were then given nametags to wear for the duration of the afternoon on which were written their phobia, creating a group therapy session of sorts in which everyone's fears were named and thus confronted.How to Align/ Aim Your Mercedes Benz Headlights
The installation, consisting of sand, cacti, magenta taffeta, video and text, recounted the sad fate of my grandparents' cherished second daughter, born into a climate too arid and dry for her genotype.
The piece used cacti hanging on the wall and surrounding the video monitor as a metaphor for human tenacity, and lamented the inability of Lula to adapt successfully to her new homeland.