This studio-based course will provide the foundation necessary to understand basic color theory and practice in painting, art, and design. An historical and cultural perspective will be introduced to inform ongoing color studies executed in the studio. Students will acquire the vocabulary to articulate color phenomena and the means to exploit the expressive potential of color in their work. Color studies will be principally created with gouache, and a variety of other materials and means will also be explored. Lectures, demonstrations, and museum visits will supplement studio work. A short research paper is required. Elective; open to all majors.
This is a hands-on, project-based introduction to computers and digital multimedia for artists. The course is designed to be an ongoing discussion on art, design and personal work informed by digital images, sound, video, animation, interactive multimedia, and the Internet. Major elective; Painting majors only.
An introductory level course for Painting majors. Students will develop drawing skills and insights and consider basic visual language issues. Syllabus is coordinated with Painting I. Major requirement; Painting majors only. Registration by Painting Department, course not available via web registration.
This course examines the definition of drawing in the twentieth century. The student, while working from the basis of their own thematic and formal agenda, is directed to explore contemporary approaches to drawing. Through assignments and weekly group critiques, they will seek to broaden the conceptual basis for their work. Majors take this class or PAINT-4521 or PAINT-4597. Major elective, Painting majors only
This course will provide the foundation for the creation of an archival painting practice for both traditional and contemporary painting methods. Topics covered will include tools, preparation process for both canvas and wood panels, sizes and grounds, drying oils, varnishes and resins, pigments, solvents, painting procedures, and the care of finished paintings. A historical overview of traditional methods and materials including egg tempra and oil paint will be covered, in addition to modern alkyd resins and acrylics. RISD's Environmental Health & Safety practices that pertain to painting practice and painting studio safety will be an integral part of this course. A short research paper is required to supplement studio work. Major requirement; Painting majors only. Registration by Painting Department, course not available via web registration.
This course presents the graduate student with a series of problems intended to develop drawing as a tool for inquiry into a terrain outside the well-known beaten paths of his/her past studio practice. Expanding the role for drawing in studio experimentation is a goal. Work will be done outside class. There are critiques each week. Graduate major requirement Registration by Painting Department, course not available via web registration.
This period is designed for the students to evaluate and analyze the directions he/she established as an undergraduate. Criticisms of the student's work will be aimed at identifying strengths and weaknesses and help the students clarify fundamental objectives. Group and individual critiques will occur by resident faculty and visiting artists and critics during the semester. Successful completion of this course is a prerequisite for continuance in the program. Graduate major requirement Registration by Painting Department, course not available via web registration.
This period is designed as an advanced critique course which involves visits by resident faculty, visiting artists and critics, with special reference to current issues and concerns in contemporary art. Graduate major requirement Registration by Painting Department, course not available via web registration.
This course offers a more painterly approach to the intaglio process. The students will produce applications of intaglio, such as collographs, large color monotypes and collage. Growth of imagery and technique will be encouraged through medium. A portfolio of prints will be produced. Major requirement; Painting majors only.
This course is a comprehensive introduction to painting. It will be designed to develop confidence and experience with paint and painting. We will examine historical and contemporary trends and paint from life models and photo sources. Fundamental techniques for basic ground preparation, oil painting mediums and direct as well as indirect processes will be taught. Representational painting will be the primary focus but experiences in abstract painting will also be encouraged. We will learn abstract principles that organize composition, depict spatial illusion and describe form while developing a shared language for critiques. No prior painting experience is required.
An introduction to the basic language of the painting discipline. Emphasis on the plastic and formal considerations necessary for work that willbecome an increasingly personal statement. Major requirement; Painting majors only. Registration by Painting Department, course not available via web registration.
The primary goal of this course will be to shift the responsibility of direction, problem-solving and problem- development from the Faculty Instructor to the student. But this will be accomplished with a great deal of faculty involvement and support. The class will begin with group assignments which will become increasingly independent. Group and individual critiques will continue as an integral part of the curriculum, with an emphasis on contemporary art and criticism. Major requirement; Painting majors only. Registration by Painting Department, course not available via web registration.
This will be a continuation of directions established in Painting III. Student work will be evaluated through group and individual critiques. Visiting Artist lectures will be important to the issues of contemporary art emphasized at this level. The department will schedule an individual review with a Faculty Committee for each student during this course. Major requirement; Painting majors only. Registration by Painting Department, course not available via web registration.
This is an intensive program designed to test the student's ability to design, organize, and complete a project of his or her choosing. Major requirement; Painting majors only. Registration by Painting Department, course not available via web registration.
This course would address many practical issues to do with becoming a professional artist after graduation. Some of these issues are: the commercial gallery, the not-for-profit gallery, museums, graduate programs, auction houses, grants, documentation of work, archival storage of work and restoration of artwork. Professionals from the gallery, museum and other fields will be invited to the class to share their expertise with the student. Artists will be invited to talk about their professional experiences. It is a seminar class addressed particularly to the senior painting student. Major elective; Painting majors only Non-majors by permission of instructor
This is a course in which first-semester seniors who have already demonstrated unusual commitment, ambition and initiative within their majors will pursue and discuss independent work in a setting that reflects, as closely as possible, the interdisciplinary conversation that actually takes place around advanced art practice today. The course is intended to allow those working within medium-specific vocabularies to test how their work will make meaning in an art world in which a variety of disciplinary histories and conventions coexist, clash, and inform one another, as well as to provide an opportunity for students whose work bridges two or more disciplines (or involves performance/new genres/post-studio approaches) to learn from one another and from faculty capable of addressing all of these sorts of practices. This is a demanding critique course with additional seminar components (readings, screenings, discussions, slide presentations, etc.), and as such students can expect a workload equivalent to a core studio requirement within their major. Acceptance into the course will be based on a GPA of 3.25 or greater as well as the recommendation of faculty and department heads from the student's major and on review of previous work. Candidates will be identified in discussions between the instructor and department heads during the preceding spring semester. Successful completion of ARTH-H490/PAINT-4507 (Contemporary Art & its Discourses) or equivalent coursework is a prerequisite, ensuring students have a shared understanding of the art historical context for interdisciplinary. The maximum enrollment is limited to seminar-size (c. 15 students) in order to provide sufficient attention to each student's work in group and individual critiques while still allowing for seminar-style discussions Instructor permission required.
"Three Critics" will offer graduate students the opportunity to get inside the art critic's head and learn how writers think about the visual. Students will be exposed to a wide range of viewpoints and discourse on contemporary art issues as defined by the interests of three different, practicing critics. Each critic will become part of the RISD community for approximately one month, conducting 3 sessions on campus and one in New York or Boston. On-campus meetings will consist of lectures, reading and writing assignments, group critiques and one-on-one studio visits. Off-campus trips will include visits to museums, galleries and artist studios. Small groups of students will be expected to lead several classes. Outside coursework and full participation in class discussion required for successful completion. Graduate major requirement; second-year graduate Painting students. Registration by Painting Department, course not available via web registration. Five additional seats available for Fine Arts graduate students. For admission, students submit a one-page writing sample to the Painting Graduate Program Director.
What did it mean to make a black square painting in 1915? What does it mean to make the same painting today? Abstraction, once thought to be and exhausted language, has experienced a profound resurgence in contemporary art making. This studio-seminar course examines the rich history of abstraction through exploring stylistic and thematic concerns of key movements in abstract art. Studio production is balanced with generative readings, discussions, and lectures to create a space where art making and critical thinking work hand-in-hand to deepen our grasp of the material. We will work on paper, vellum and canvas; utilizing a variety of media including graphite, charcoal, collage material, gouache, and acrylic paint. This course presents a historically rooted introduction to contemporary abstraction that begins in the 1950s and continues through the present day. Rather than a strictly chronological survey, we'll examine specific moments, shifting political trends, popular culture, and theoretical frameworks that continue to inform contemporary practice and criticism. We'll begin by identifying key figures within well established Modern and Postmodern art movements, paying special attention to shifting relationships between form and content in our studio assignments to develop and expand our visual vocabulary. We'll then proceed by looking at artistic practices and curatorial attempts that sought to reroute the linear trajectories of late modernism. We'll draw on these practices that critique conventional notions of artistic categories and deconstruct the distinction between center and periphery as models for expanding the possibilities for abstraction in contemporary art today.
Painting has a rich history of borrowing, described as anything from homage to translation, pastiche to influence, imitation to laziness. But how does one classify a reference as an act of translation rather than as an act of theft? What are the implications of utilizing a Matisse color palette or incorporating a pair of Mickey Mouse hands? And what constitutes an ethical borrowing practice when nearly every painting is available to copy and paste? The objective of this class is to incorporate strategies for the appropriation of paintings and drawings through painting and drawing. As a class, we will explore how historical and contemporary modes of appropriation can be utilized through studio-based assignments and discuss the implications and potentials of these methods in a contemporary context. Through studio work, lectures, readings, and class discussion, we will develop a multifaceted definition of appropriation: as gesture, as method, and as tradition. In order to establish the historical lineage and contemporary framework of appropriation, we will study the practices of Pablo Picasso, Robert Rauschenberg, Raymond Pettibon, Richard Prince, Sarah Morris, and Nijideka Akunyjli Crosby, amongst others.
From Photoshop to CGI, hip-hop samples to pop-up ads, collage has become a ubiquitous force in our lives. Pablo Picasso and Georges Braque coined the term 'collage' in the early 20th century to describe their experiments in reconfiguring the detritus of everyday life. Surrealists, Pop Artists and political radicals alike have since embraced the technique as a way to reorder the material world. Now, collage is our de-facto mode of presenting verbal and visual information,so omnipresent as to be practically invisible. This course will give the technique its due, examining its historical roots and touching upon the aesthetic influence of collage in literature,film, music and dance. We will move through modes of image making: collaging with cut paper, experimenting with color, utilizing unorthodox materials and engaging in collaboration. Students will develop their own sensibilities and goals within this open-ended technique. Get ready to cut up and reassemble anything you can get your hands on! Let's re-radicalize this age-old process.
This studio-based painting course will explore color and light from a number of different perspectives (traditional color theory, scientific/biological, and metaphorical/symbolic), with an overall focus on applying these concepts to your own art practice. The emphasis of the course will be on developing the tools to make thoughtful and deliberate color choices in your work, while also gaining an understanding of the scientific basis of various color and light phenomena. Lecture topics will include: fundamentals of color theory, basic color mixing, the science of color and vision, the science behind various optical effects, connecting vision and art, the psychology of color, and the symbolic role of color. Painting assignments will focus on exploring and applying the concepts covered in the lectures. While the painting assignments will focus on specific color theory topics, they will be flexible enough to allow students to explore whatever ideas and subject-matters interest them. Short group critiques will accompany each painting project. Painting assignments may be performed in any media (though oil, acrylic or gouache are strongly recommended). Short reading assignments will also accompany this course, as well as a field trip to the RISD Museum.
This course will investigate cultural traditions of the "monster", broadly defined as an entity of horrific other-ness. Monsters can be microscopic or gigantic, savage or pathetic, infectious or predacious. Monsters of all sorts, real and imagined, continue to invade our lives. Their narrative depiction has developed culturally as a metaphorical exploration of our deepest fears. tDuring the class our interest will be in a three dimensional communication and transcription of monster related imagery. While working with a variety of sculptural materials we will stimulate imagination through films, slides, books and articles. We will distill these influences into our own themes, grandiose, frightening and seductive. Our goal will be to forge connections between themes of fear from the distant, and those of our present lives.
This class is aimed at students wishing to get their toes wet with snappy material and conceptual strategies for making work. Early on, students will choose one of four themes (biographical, fictional narrative, 21st century social political issue, appropriation within the history of art) and settle on a single idea, concept or story for working fast and loose through different mediums. Students will acquire practical skills such as mold making, casting in cement and plaster, image transfers, prepping surfaces for mixed media, and basic mono-print techniques. As the course progresses, the product of each assignment becomes the building block for the next, prioritizing process over finished work. Students will move from 2-D into 3-D ways of making, subjecting their ideas to material prompt offering "quick and dirty" approaches. Drawing, collage, object making, video, performative gesture, and installation will all be used over the course of this class. For their final projects, students will be encouraged to synthesize the various practical skills acquired during the course. The class will include visits to the Visual + Material Resource Center, slide presentations, demonstrations, in-class experimentation, critiques and individual meetings.
Painting from Observation will be a team taught Schedule A and B marathon for 6 credits. Drawing, collage, printmaking and painting will introduce students to contemporary painting as practised by the RISD Painting Department. This course is a comprehensive introduction to painting. It is designed to develop confidence and experience with paint and painting. We will examine historical and contemporary trends and paint from life models and photo sources. Fundamental techniques for basic ground preparation, oil painting mediums and direct as well as in direct processes will be taught. Representational painting will be the primary focus but experiences in abstract painting will also be encouraged. We will learn abstract principles that organize composition, depict spatial illusion and describe form while developing a shared language for critiques. No prior painting experience is required.
"For there is no folly of the beast of the earth which is not infinitely outdone by the madness of men." - Herman Melville, Moby Dick Located just 35 minutes east of RISD, the New Bedford Whaling Museum offers a fascinating and often disturbing perspective on the emergence of modernity along side the systematic hunting and harvesting of whales to the brink of extinction. Through several visits to the museum this course asks students to reflect upon and interpret a wide range of interrelated subjects including folk art, nautical culture, colonial politics, marine biology and museum display. With additional access to museum archives students address these topics through research-based projects that employ drawing, painting, and installation with particular attention to contextualizing within differing modes of museum display. The New Bedford Whaling museum boasts a rich collection of unique and unusual artifacts that together issue a cautionary tale by asking visitors to contemplate the tenuous line between pursuit of profit and the destruction of that which we hold most sacred.
As visual artists, we each have different experiences and life events unique to our own circumstances, yet we wish to communicate them to a broader audience - even a universal one. How can one effectively do this? How can we use our own personal histories as a generative machine for art making? In this course we will consider the various ways in which students can communicate the intricacies of personal narratives through the visual languages of drawing and painting. This class will closely examine the relationship of these mediums to film, with its capacity to synthesize narratives and visual images. Weekly screenings will supplement readings, writing exercises, museum visits, in class slide lectures, assignments and individual meetings. Students will pursue themes of time, memory, intimacy, myth, and perspective, all as a means of communicating their individual experiences through the practices of drawing and painting. Estimated Materials Cost: $100.00
This intensive course is designed to immerse students in select, salient debates impacting the direction and parameters of contemporary painting. The goal is not only to introduce and familiarize, but also to collectively and actively generate possibilities for and within the medium. Six overlapping nodes, or case studies, each accompanied by readings and a list of relevant artists, guide our investigation: Endings and Beginnings, Monochromania, Photoshop Killed the Photographer Killed the Painter, Market Mechanisms (and Academic Exercises), Regional Painting, and Narrative. When possible, current exhibitions will be discussed. The course will be seminar style sessions interspersed with critique and discussion of the work of enrolled students. Major elective; Painting seniors only.
This is the second part of a two-class sequence, with Introductory Prehistory of Contemporary Art as a prerequisite. This class, required for painting majors in spring semester of their junior year, is devoted to the development of postmodern and contemporary art and culture from roughly 1989 to the present, introducing, contextualizing, and assessing how artists have addressed the discourses around medium, technology, globalization, colonialism, social justice, the environment in that time, how their work has been shaped by other spheres of cultural production, and how critics have responded to and theorized the art of the recent past and the present day. There will be a field-trip to Dia Beacon during the semester. Major requirement; Painting majors only. Registration by Painting Department, course not available via web registration.
The history of painting and the trajectory of radical exhibition models in the post-war period have always seemed divergent, even antithetical: the former pursued autonomy, then, more recently, returned to narrative and figuration, while the latter took cue, both morphologically and discursively, from installation, sited, and conceptual art. This course counters such assumptions by examining post-war painting in tandem with key moments in curating (eg. Alanna Heiss' PS1; Okwui Enwezor's Documenta XI; Jerome Sans and Nicolas Bourriaud's Palais de Tokyo; and Dan Cameron's Prospect 1). The course's second half, at once more speculative and hands on, uses the Painting Gallery as a test site for mounting an exhibition or exhibitions, with emphasis on the peculiarities that painting - bounded, rectilinear, and flat - presents. Readings to include Bruce Altschuler, Julie Ault, Thomas Crow, Thierry de Duve, Hal Foster, Brian O'Doherty and others. The course has a fee for two field trips to New York. Elective Open to senior and above. Permission of Instructor required.
From Picasso, Braque and Eisenstein to Thea Djordjadze, Mark Bradford and Gob Squad, artists have used the techniques of collage and montage to disrupt and challenge ideas around representation, narrative cohesion, and illusionistic pictorial fields. In this class, we will investigate these techniques across a range of media, including painting, drawing, sculpture, performance, text, video and digital platforms. Through assignments, lectures and readings, we will examine collage/montage as a means of reframing the everyday, responding to social/ political circumstances, exploring identity and imagining futures. Artists referenced will include: Picasso, Braque, Bertoldt Brecht, Joseph Cornell, Dawn Clements, Mickalene Thomas, William Burroughs, Thea Djordjadze, Ryan Trecartin, Gob Squad, Kenneth Goldsmith, Derrick Adams, Kevin Beasley, Wangechi Mutu, Gillian Wearing, Sarah Lucas, Vanessa German, Lisa Hoke, Swoon, Mark Wagner, Oliver Laric, Hong Hao, Mark Bradford. Open to sophomores and above
A continued examination and development of drawing skills. This course is coordinated with Painting II. Major requirement; Painting majors only. Registration by Painting Department, course not available via web registration.
This period is designed for the student to evaluate and analyze and pursue the directions he/she established in Grad Paint Studio Critique I. Group and individual critiques will occur by resident faculty and visiting artists and critics during the semester. Graduate major requirement; Painting majors only. Registration by Painting Department, course not available via web registration.
This period is designed for development and presentation of a body of work supported by a written thesis in consultation with resident faculty, visiting artists and critics during the semester. A final exhibition of work will be evaluated by a jury of Painting Faculty Members. Graduate major requirement Registration by Painting Department, course not available via web registration.
This first-year graduate seminar approaches painting as a technical skill, a historical practice and an intellectual project. Weekly sessions begin with group discussions of key readings about recent painting. Readings are organized in three sections. The first looks backward, to the problem of medium that preoccupied modernist painting and, residually, contemporary practices until the 1980s. The second section looks at two phenomena, the academy and the art market, and their effect on how painting is produced, disseminated, discussed and received. The third, the most speculative, looks laterally at a range of contemporary practices from the 1990s to the present. Graduate elective Permission of Instructor required.
This course is located at the interstices of pattern and space. Through an in-depth look at the medium of printed wallpaper and tracing the roots of pattern across a broad range of histories and cultures this course explores the question: What role does pattern play in defining the conditions and perceptions of spatial experience? Through a combination of studio-based assignments, readings, and in-class discussion and critique students investigate strategies for designing site-specific installations using pattern and repetition as the primary modality; with texts by E.H. Gombrich The Sense of Order, and Gaston Bachelard's Poetics of Space to provide historical and philosophical context. This textiles/painting/printmaking collaborative is an exploration into the boundaries between art and design; and the cross sections of functional and nonfunctional forms. Wallpaper can transform space and affect experience; nevertheless wallpaper is not necessarily neutral or benign. Students choose an architectural space that is inspired and transformative to create a site-specific installation. Research into the purpose and history of the site will serve to inform students' approach both material and conceptual. The final work will be produced and installed. Silkscreen, stencil, pochoir, in addition to digital printing will be explored. Estimated Materials Cost: $100.00 Registration by Departments only. Restricted to Painting majors; also offered as TEXT-2705 for Textiles majors and PRINT-2705 for Printmaking majors. Permission of instructor required.
This is a comprehensive course designed to test the student's ability to create, complete, and document a Degree Project of his or her choosing. The Degree Project should be a distinct, carefully conceived, exhibition-ready body of work which reflects the issues and objectives of your art. The Senior Degree Project is distinct from your Woods-Gerry Gallery exhibition, although its work can overlap with that exhibition. Major requirement; Painting majors only. Registration by Painting Department, course not available via web registration.
Working with a wide array of materials, different approaches to physicality and surface, and inventive methods of deploying color other than by brush, this "painting" course will make works that occupy the space of the wall familiar to painting -- but not its most traditional conventions. With a deep engagement in process and informed by readings and targeted artists and art historical movements, students will explore materiality and visual culture. Shopping for "art supplies" will take place as much at Home Depot as at Utrecht. Employing the recycled and trash, the found and gathered, and the manufactured and the natural, the art made will be critiqued for both presence and meaning. From duct tape to cotton balls soaked in acrylic paint -- one finds context, from varying thicknesses of rope dipped in polymer mediums to woven plastic shopping bags -- one finds structure, and from paint squirted from plastic ketchup bottles to fake fur -- one finds attitude. Open to all majors.
The purpose of this course is to continue development based on Painting I. Individual expression will be encouraged through a series of larger works which require greater time and organizational skill. Experimentation in different painting media, including oil, acrylic, watercolor and mixed media will be encouraged. Group and individual critiques are required. Outside work will be assigned. Major requirement; Painting majors only. Registration by Painting Department, course not available via web registration.
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