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
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
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
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 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
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
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
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 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.
"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.
This course is a laboratory sited at the crossroads where drawing and the physical world overlap, perform, and deploy one another. Logistically speaking, assignments will address the challenges implicit in making work beyond the rectangle of the page. We will engage this subject through a combination of studio-based assignments, readings, and in-class discussions and critiques. In specific terms, we will be working through a series of studio-based assignments that will aid us in our interrogation and engagement of the mimetic, sublime, and theatrical notions of space. Together we will arrive at an understanding of these terms by using Miwon Kwon's text "Promiscuity of Space: Some Thoughts on Jessica Stockholder's Scenographic Compositions" as a roadmap for our inquiries. Kwon's essay presents an alternative narrative to the claims made by Rosalind Krauss in her influential text Sculpture in the Expanded Field. In Kwon's essay there is a prompt to investigate connections between Krauss' "Expanded Field of Sculpture" and the 'field' of Color Field paintings. This course takes the possibility of a connection between these spatial locations to its logical conclusion via the medium and activity of drawing in 3-D space.
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.
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.
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.
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 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 HAVC-H490 for non-painting majors Requirement for Junior Painting Majors Also offered as HAVC-H490 for non-painting 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
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 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
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
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. Course open to all majors
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
"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.
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