Courses

Curriculum

pdf iconBFA Curriculum in Painting 2013-14   pdf iconMFA Curriculum in Painting 2013-14

 

Courses

Fall Semester 2013
  • PAINT-4570

    CRITICAL CURATING

    Credits: 3.00

    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; Senior and above
  • PAINT-4519

    DRAWING I

    Credits: 3.00

    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.
    Must also register for PAINT 4501
    Major requirement, Painting majors only
    Registration by Painting department, course not available via web registration
  • PAINT-4529

    DRAWING II

    Credits: 3.00

    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
  • PAINT-4505

    FUNDAMENTALS: PAINTING METHODS AND MATERIALS

    Credits: 3.00

    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
  • PAINT-452G

    GRADUATE DRAWING

    Credits: 3.00

    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
  • PAINT-450G

    GRADUATE PAINT STUDIO CRITIQUE I

    Credits: 6.00

    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
  • PAINT-460G

    GRADUATE PAINT STUDIO CRITIQUE III

    Credits: 9.00

    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
  • PAINT-4520

    PAINTERLY PRINTS

    Credits: 3.00

    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
  • PAINT-4501

    PAINTING I

    Credits: 6.00

    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.
    Must also register for PAINT 4519
    Major requirement, Painting majors only
    Registration by Painting department, course not available via web registration
  • PAINT-4502

    PAINTING II

    Credits: 6.00

    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
  • PAINT-4514

    PAINTING III

    Credits: 6.00

    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
  • PAINT-4507

    PAINTING WORKSHOP

    Credits: 6.00

    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
  • PAINT-4597

    PROFESSIONAL PRACTICES IN PAINTING

    Credits: 3.00

    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
    Nonmajors by permission of instructor
  • PAINT-4587

    SENIOR HONORS INTERDISCIPLINARY CRITIQUE

    Credits: 3.00

    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 interdisciplinarity. 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.
  • PAINT-465G

    THREE CRITICS

    Credits: 3.00

    "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
    Registration by Painting department, course not available via web registration
    Requirement for second-year graduate Painting graduate students. Five additional seats available for Fine Arts graduate students. For admission, students submit a one-page writing sample to the Graduate Painting Coordinator.
  • PAINT-4568

    WORKING INSTALLATION

    Credits: 3.00

    As some art has moved off the wall and out of the defined zone familiar to painting, an investigation of the space of the floor and the room has become common practice for many contemporary artists. This course will help students to conceptualize and create installations, working with materiality and site specificity as well as display strategies, 3D composition and measured and drawn space. While developing critical criteria as appropriate to individual student interests and areas of research, a hands-on examination of various current and historical installation approaches will take place. Whether temporary or permanent, still or interactive, and whether incorporating projection, video, sound or lighting - -installation's roots and history will inform course critiques and discussions will incorporate assigned readings.
    This can substitute for the Paint requirement Painterly Prints with permission of Department Head
    Major elective, Junior Painting majors only
Wintersession 2014
  • PAINT-3201

    A CLOSER LOOK: PAINTING FROM OBSERVATION THROUGH A CONTEMPORARY LENS

    Credits: 3.00

    Feel like you need to slow down, look carefully, and capture details that are so often overlooked? The goal of this course is to develop observational oil painting techniques while locating this practice in contemporary art. The course will cover four themes: materials (ground absorbency and mixing mediums), light and temperature, depth and distance, and the constructed model (touch). Each week's meetings will be comprised of a material demonstration, 15 minute student presentations on a contemporary observational painter, in-class work time, and critique and conversation. Readings will include interviews with current artists such as Josephine Halvorson and Catherine Murphy, and selections from David Hockney's "Secret Knowledge: rediscovering the lost techniques of the old masters." Students will design their own final projects using the skills learned in the first few weeks, and will be evaluated on the depth of their investigations and ability to incorporate new skills into their own languages. This course is open to anyone - from students who are new to painting to those who have already developed their own vocabularies and want to add new techniques to their skill-sets.
    Open to Undergraduate and Graduate Students
  • PAINT-3204

    BEYOND PAINT

    Credits: 3.00

    What does it mean to call a video, sculpture, digital print, quilt, found object, or even a performance a painting? How is painting defined in the post-medium age? There is a rich tradition of artists who have challenged calls for medium specific approaches to painting, while still remaining connected to the critical discourse around painting's image based nature. We will look at the critics who have described the evolution and eventual demise of the binary between painting and mixed media approaches, from Clement Greenberg to Rosalind Krauss to Jan Verwoert. As we understand this history we will debate how to move forward now, in the contemporary landscape of painting, where an interdisciplinary perspective is the norm. We will consider what medium specificity might mean for painting today, and whether it is possible to redefine and resurrect this idea in our own terms, or to otherwise delineate the parameters of painting. Ultimately this will help us to identify and expand the discursive relationships between media and conceptual content for each student's work. Throughout the course, we will continually recast our individual definitions of what painting is and the standards it implies. Open assignments will ask students to explore their own material and conceptual interests in relation to three potential paradigms for a new, interdisciplinary idea of medium specificity in painting. The final project will allow students to return to and build upon any one of the previous assignments, or to invent a new problem. In conjunction with studio work, assigned readings, class discussions, group critiques, and a short written reflection will make up an integral part of this exploration. There are no prerequisites to this course and students from all backgrounds are encouraged.
    Open to Undergraduate and Graduate Students
  • PAINT-4215

    DECORATIVE METHODS FOR ABSTRACT PAINTING

    Credits: 3.00

    This course is for the student seeking an alternative context for abstract painting and eager to explore new materials and approaches. Using decorative methods and materials as a point of departure we explore abstract visual language by studying the diverse traditions and processes of decorative painting with an eye towards historical and contemporary uses, meanings, and context. We explore homegrown decorative movements such as American painted furniture, in addition to classical decorative traditions of pattern and ornament. Readings from Danto, N. Goodman and E.H. Gombrich, among others are accompanied by studio experimentation in a broad range of decorative techniques, including but not limited too: faux-bois, faux-marble, stencil making, ornamental design and motifs, and tool making. Weekly assignments encourage experimentation with both the methods and the meanings of decorative language, culminating in an independent project that demonstrates an experimental use of concepts and techniques learned in class.
  • PAINT-3207

    DRAWING ON CONCEPT FOR CREATION

    Credits: 3.00

    Drawing can be thought of as an essential scaffolding for versatile and interdisciplinary approaches to art creation. Readily adaptable and accessible, the essentials of drawing can lend themselves to the enhancement of a larger conceptual framework. We will explore how drawing can create an exciting bridge to the unknown, and cite historic examples of its generative qualities - from the immersive environments of the Baroque era, to the unprecedented transition to the digital milieu. This class is designed to inject the fundamentals of drawing into landscapes of the perceptual, virtual, social, or political, in the service of generating new and invigorating dialogues of one's own practice.
    We will examine the wide range of approaches used by contemporary art makers, and study the individual tools and processes that go into their creations. Each week we will use the foundations of drawing - gesture, value, and space - to explore and instantiate additional methodologies of contemporary masters. We will study Sol LeWitt's instructional and navigational gestures, Matthew Barney's imposed handicaps, Mary Temple's light perceptions, John Baldessari's tests of appropriation, and Lee Walton's arenas of indexical mark-making, among others. We will identify and dissect the tools, tricks, and behind-the-scene secrets being employed by these artists, and make them readily accessible for students in this course. Further, we will examine how innovative curation and methods of display can be used in conjunction with drawing to transcend the geography of contemporary art-making. In-class exercises and weekly assignments will be given to create building blocks for a larger, more ambitious final project. Readings will be given for additional support, as well as one mandatory two page paper addressing the approach of a contemporary artist not discussed in class. The bulk of class will be devoted to critique and corresponding dialogue. Though drawing will be the impetus of our approach, it is greatly encouraged that each student weaves in his/her own personal disciplines and versatile skill sets.
    Open to Undergraduate and Graduate Students
  • PAINT-3209

    INCOMMENSURABLE POSITIONS: THE CONTESTED SPACED BETWEEN FIGURATION AND ABSTRACTIONS

    Credits: 3.00

    Painting has the unique ability to entertain and embody contradictory and conflicting viewpoints. As opposed to other cultural avenues (politics, literature, criticism, theory and philosophy, etc.) art can be situated within ambiguity, contradiction, and ambivalence. One such contradiction has been work that has simultaneously held positions within figural and abstract discourses. Whether through the early post-modern work of Willem De Kooning, Phillip Guston, Francis Bacon, Frank Auerbach, or Giacometti; later work in the 80s of Jim Shaw, Jim Nutt, and Mike Kelley; 90s body art as expressed through Robert Gober and Jeanne Dunning ("The personal is political"); or within contemporary painting with the work of Dana Schutz, Albert Oehlen, Wangechi Mutu, Cecily Brown, Tala Maldani, Jose Lerma, Tomoo Gokita, and Adrian Ghenie many artists still see the body as a site of investigation, using abstraction to excavate meanings of identity, politics, and culture.
    This course will use the figure to investigate political, cultural, and individual concepts. The first portion of the course will be devoted to building a foundation on traditional figure painting techniques. Students will then be asked to develop and explore various modes and languages of abstracting the figure building from this tradition. The course will provide a historical component to better integrate and understand relationships between the figure and landscape, the figure as site for cultural and political connectivity, and cultivate conceptual meaning from abstract methodologies. Students will be presented with contemporary concerns and dilemmas to figural abstraction and ways they can approach them to lend this practice contemporary currency, provide it with a rigorous criticality, and identify it as a historical and contemporary genre.
    The course will generate an ambitious body of work and an archive of source materials relating to investigations of the figure. The course will culminate in a final project that will require students to build on the information they've learned from figural abstraction.
    Primary source material will include Katy Siegel's The Luxury of Incommensurability talk, writings from Mike Kelley, Willem De Kooning, Kerry James Marshall, Wangechi Mutu, Elke Krystufek, and Yinka Shonibare.
    Open to Undergraduate and Graduate Students
  • PAINT-4711

    MONSTER

    Credits: 3.00

    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.
  • PAINT-4427

    ON THE MATTER OF COLOR

    Credits: 3.00

    A course dealing with color from a larger star shaped perspective. Through an exploration of culture, race, fashion, film, painting, sculpture, music and sound, we will examine how notions of color are utilized, celebrated, suppressed, expressed and distorted. One text: Chromophobia by David Batchelor will be required. Weekly studio projects will be assigned.
  • PAINT-3211

    PAINTING "PLACE": MEMORY, OBSERVATION, SPECULATION

    Credits: 3.00

    Conceptions of 'place' link us to our climates and landscapes, our regions and cities, our neighborhoods and homes. Places stick in the concavities of our memory-not as passive backdrops, but as essential content. They script our routines and shape our identities.
    We will use 'place' as the point of departure for this painting course, fostering an immersive and saturated understanding of landscape comprehension. Students will overlay memory and geography, and seek meaning in locating the act of making. Variegated themes of mapping, travel, memory, time, and scale will incite pictorial inventiveness beyond the bounds of traditional landscape delineation.
    The course will be divided into three sections: Past Place (memory), Present Place (observation), and Future Place (speculation). Texts by art critics, cultural landscape historians, and poets will accompany studio assignments, as well as slide lectures with a focus on select 20th and 21st century landscape and abstract painting.
    Open to Undergraduate and Graduate Students
  • PAINT-4406

    PAINTING FOCUS:GO FIGURE

    Credits: 3.00

    In this course, students will investigate various approaches to representing the figure in contemporary art. Such things as the historical, psychological and narrative implications of using a human form in a work of art will be emphasized. There will be an exploration of studio-based strategies that will include working from observation and using mediated imagery such as film stills and photography. Students will start with in-class assignments working from a model in an interior that will culminate in a large-scale project that investigates the broader interpretation of figuration. Students will be challenged in technical, formal and conceptual approaches to creating a figurative work of art. While technical instruction will be focused primarily on painting, drawings and collage, students will be encouraged to also work in the media of their choice. In-class assignments will be supplemented with PowerPoint presentations as well as film and video screenings, reading materials, and critiques.
  • PAINT-4538

    PAINTING FROM OBSERVATION

    Credits: 3.00

    This course is a comprehensive introduction to painting. It will be a marathon of daily painting assignments designed to develop confidence and experience with representational 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 in critiques. No prior painting experience is required and Foundation students considering painting as their major are encouraged to enroll, as well as majors from other departments.

    Students are advised not to take a second Wintersession course because of the commitment of time this course will require.
  • PAINT-3210

    THE MANUAL, MECHNANICAL, AND DIGITAL

    Credits: 3.00

    This course will begin by looking at historical changes within painting that makes use of mechanical and digital technologies. Experimentation, springing from modernism, in dual mediums offers various considerations of the boundaries of what painting was and what it can be, with the variety of digital advancements. A focus on the deconstruction of traditional notions of painting and printmaking as two different approaches to art making will quickly diffuse to reveal a closely interconnected relationship. This course offers in-studio printmaking for painters with practical approaches to integrating these technologies into a painting practice without the call for print shop access. Within these parameters of painting exists a history and tradition of its own, which will be covered through weekly slide lectures. Techniques including monotype printing, collage, digital printing, stenciling, and xerography will all be explored throughout the semester. As students develop their skill-set this course offers additional formal exchanges between painting, printmaking, and digital interplay. Weekly demonstrations will be given. Students will then explore and develop such skills necessary to create personal direction and practice in the studio. This course takes an individualized approach to each students content and form.
    Estimated Cost of Materials: $100.00
    Open to Undergraduate and Graduate Students
Spring Semester 2014
  • PAINT-4569

    CASE STUDIES:CONTEMPORARY ART

    Credits: 3.00

    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
  • PAINT-4415

    COLOR STUDIO

    Credits: 3.00

    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
  • PAINT-4516

    CONTEMPORARY ART & ITS CRITICS

    Credits: 3.00

    This seminar will examine a series of canonical readings of contemporary art, focusing primarily on key writings published in the journal October and the magazine Artforum since 1975. We will engage in detail with such overarching critical concepts as postmodernism, neo-avant-garde, site-specificity, and relational aesthetics. We will also examine readings that draw on concepts such as the fetish, the abject, the informe, the gaze, primitivism, and postcolonialism. Finally, we will attend to issues of writerly style and method, seeking to understand the wide variety of tools that critics and art historians employ to understand, historicize, and enrich our understanding of works of contemporary art.
    Major requirement, Painting majors only
    Registration by Painting department, course not available via web registration
    Also offered as ARTH H490 for non-painting majors
    Requirement for Junior Painting Majors Also offered as ARTH-H490 for non-painting majors
  • PAINT-4521

    DIGITAL TOOLS FOR ARTISTS

    Credits: 3.00

    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
  • PAINT-4529

    DRAWING II

    Credits: 3.00

    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
  • PAINT-4504

    EXPERIMENTS IN DRAWING

    Credits: 3.00

    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
  • PAINT-451G

    GRADUATE PAINT STUDIO CRITIQUE II

    Credits: 6.00

    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.
    Major graduate requirement; Painting majors only
    Registration by Painting department, course not available via web registration
  • PAINT-461G

    GRADUATE PAINTING STUDIO THESIS

    Credits: 12.00

    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
  • PAINT-424G

    MEANING IN THE MEDIUM OF PAINTING

    Credits: 3.00

    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
  • PAINT-4520

    PAINTERLY PRINTS

    Credits: 3.00

    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
  • PAINT-4598

    PAINTING DEGREE PROJECT

    Credits: 6.00

    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
  • PAINT-4407

    PAINTING FOCUS: MATERIAL EXPLORATIONS

    Credits: 3.00

    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.
    Course open to all majors.
  • PAINT-4502

    PAINTING II

    Credits: 6.00

    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
  • PAINT-4515

    PAINTING IV

    Credits:

    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
  • PAINT-4208

    WORKS ON PAPER

    Credits: 3.00

    This course is a continued examination of drawing. It takes as its subject the concept of the ground and its relationship to image and mark. Collage, water based media and dry media will be used. Restricted to Sophomore, Junior, Senior
Painting foreground image 5
Raphael Cohen, Candy Canes