Fall 2021

  1. A Collaborative Study Project (CSP) allows two students to work collaboratively to complete a faculty supervised project of independent study. Usually, a CSP is supervised by two faculty members, but with approval it may be supervised by one faculty member. Its purpose is to meet individual student needs by providing an alternative to regularly offered courses, though it is not a substitute for a course if that course is regularly offered.
  2. 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.
  3. 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.
  4. 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. Major elective; Painting majors only. Majors take this class or PAINT-4521 or PAINT-4597.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. The Independent Study Project (ISP) allows students to supplement the established curriculum by completing a faculty supervised project for credit in a specific area of interest. Its purpose is to meet individual student needs by providing an alternative to regularly offered courses. Permission of Instructor and GPA of 3.0 or higher is required. Register by completing the Independent Study Application available on the Registrar's website; the course is not available via web registration.
  10. This is a course in which juniors and seniors from the sculpture, painting, and textiles departments will pursue and discuss their existing practices in a setting that reflects, as closely as possible, the interdisciplinary and intersectional conversations that actually take place around advanced art practice today. The course will be situated in methods of performance (mechanisms of labor, refrain, and capitalism) across painting, textiles, and sculpture, but will also incorporate inter- / trans- / multi-disciplinary methods of research and production, with some emphasis on navigating the built environment: walking, breathing, considering how bodies move through space unbothered / obstructed. The course is intended to allow those working within medium-specific vocabularies to test how their work will make meaning in art worlds in which a variety of intersectional discourses and disciplinary histories inform, resist and reshape one another, as well as to provide an opportunity for students whose work bridges the disciplines of sculpture, painting, and textiles (including performance and post-studio approaches) to learn from one another and from faculty capable of addressing all of these sorts of practices. This is a critique course with additional seminar components (readings, screenings, discussions, slide presentations, etc.). Open to juniors and above. Permission of instructor required.
  11. 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. Permission of Instructor required.
  12. 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.
  13. 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.
  14. 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.
  15. 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.
  16. This course frames contemporary art as a set of conversations, arguments and counterarguments that have been proposed in key exhibitions, works of art, and critical writings produced across multiple continents over the past three decades. We will identify and critique the ideas that have shaped contemporary art, discuss their impetus, and examine their assumptions. Through such conversations, the course presents contemporary art as a form of processing a present and a past in which the artwork is indivisible from the dialogues and conversations that create, define and continue to change it. The title of the class alludes not only to the idea of making and reading contemporary art as cognitive, rhetorical and dialogic activities, but also to the art world as a series of geographically dispersed and temporally promiscuous processes, deeply resistant to modernist systems of order, periodization and mapping. The course combines lectures by the instructor, as well as by visiting critics and art historians, which outline some of the key issues and historical pressures of contemporary art, alongside seminar-type discussions where we "process" the lectures and select readings as a group. Graduate elective - lecture Permission of instructor required. Also offered as PAINT-148G; Register in the course for which credit is desired.
  17. The professional Internship provides valuable exposure to a professional setting, enabling students to better establish a career path and define practical aspirations. Internship proposals are carefully vetted to determine legitimacy and must meet the contact hour requirements listed in the RISD Course Announcement.
  18. 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
  19. "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.

Wintersession 2022

  1. Memes. Tik Tok. NFTs. The internet age has irrevocably altered the face of the art-world with its propensity for viral, ephemeral, imitative, and revolutionary content. Memes dominate this space of shareable content, ranging from pithy to unintelligible; memes have truly become their own form of language. Meme culture already extends deep into the art market: premiere art critic Jerry Saltz runs an Instagram meme account, and the Nyan Cat GIF sold for almost $600K. But even underneath the hegemonic and big-money art world, we as artists have a unique opportunity to radically change and choose our modes of working. By adopting the spirit, format, or language of memes, we can embrace overt deviance, collective power, and cultural (in)significance-all in hopes of creating a more equitable and decentralized art future. In this course, we will use meme language as a springboard to create conceptual, interdisciplinary, and collaborative art projects. All mediums are welcome. As a class, we will also engage in group activities, games, and challenges designed to open new avenues for independent artistic work. We will stretch the boundaries of our practices and embrace new modalities of creation. We will challenge language and image by reversing and altering meaning. We will muddy the waters of individual authorship by appropriating, transforming, and advancing the work of others. And we will uproot our preconceived conceptions of what art and an artistic life can be.
  2. This course is based on Hornung's textbook, Colour: a workshop for artists and designers. Under the guidance of the instructor, students produce a series of small painted collages that examine color from a variety of approaches. The goal is to master color principles and make them applicable to studio practice. Estimated Materials Cost: $110.00
  3. While the majority of drawing takes place on mass-produced, white paper, the surface on which a drawing is created is an important aspect of a drawing's composition and meaning. Color, texture, and materials of both surface and imagery all contribute to the final image. This course will focus on creating paper grounds as an integral part of the final composition. These grounds may even come to the forefront, evolving into distinct pieces that exist on their own. This class will be split into two phases: The first half of the class will be dedicated to the creation of paper grounds. Students will explore the process of making paper from start to finish. In the creation of sheets, students will learn coloring, painting, and pouring with pulp. Each sheet will become a unique composition, an original background or foreground. During the second half of the class, students will explore making drawings on their individual grounds. The relationship between imagery and surface will be consciously explored in order to develop multiple layers of meaning.
  4. In this studio course, we'll explore methods of movement to physically animate and perform our still works. This process is about opening up bodily ways of knowing to inform and enliven our practice for ourselves and live/ recorded performance. We will reference and riff off of paintings, sounds, stories, podcasts, videos, music, installations- various forms of visual art- to explore intuitive and embodied movements. Our goal will be, in the words of Sam Guilliam, to step out of our frames to deal with the space. We will each keep a recorded daily movement journal to document our motions to reference in our practice. Throughout the course, we will respond to the questions such as: how can our work and our worlds thoughtfully take up space, be adaptable to the needs of the moment, and exist in site specific ways- indoors/ outdoors, virtual/ AFK (meaning "Away from Keyboard" from Glitch Feminism), and operate individually/ collectively (aka personally/ politically)? By engaging with this space outside our current frames of creating, we will explore answers to these questions to expand our modalities of expression within our studio practices and sharing of work.
  5. 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.
  6. Museums are institutions that carry the legacy and history of human endeavors. The present moment is radically testing the role of museums as storytellers while also challenging how and for whom our stories are told. The colonial history of this geographic region was profoundly shaped by an industry built on the systematic hunting and harvesting of whale bodies, driving entire species to the brink of extinction. Located just 35 miles east of Providence, the New Bedford Whaling Museum tells this story and offers a challenging look into the great sacrifices made in order for American industry and culture to thrive. This year we are offering multiple fully remote virtual tours with senior curatorial staff along with additional authors and academics, enabling in-depth conversation and opportunities for connection with experts in the museum's collection. Through these tours this course asks students to reflect upon and interpret a wide range of interrelated subjects, objects, and their shared histories and relationships to both humans and whales. From folk art to nautical culture, from colonial economies to subsistence hunting, and from natural history to curatorial practice, through research, students illuminate the stories the ocean has to tell us about ourselves so that our recognition of the past may help guide us towards a more sustainable future. With enhanced access to museum archives students address these topics through research-based projects employing a range of fine art media with specific attention to contextualizing within different modes of museum display. The New Bedford Whaling museum boasts a rich collection of unique and unusual artifacts that together issue a cautionary tale, asking visitors to contemplate the tenuous line between the pursuit of profit and the destruction of that which we hold most sacred.
  7. I wanted to construct my own utopian fantasy of belonging that may not exist in the tangible concept of reality but does exist in the mind, memory, dreams, the experience of otherness, says Julius Poncelet Manapul in his interview for the book Diasporic Intimacies. In agreement with Manapul's sentiment, this course will explore an intermediary approach to centralize the use of personal memory, history, and nostalgia to transform their inhabited spaces and create new worlds, physical or utopic. Students will analyze the use of symbols, icons, images, patterns, sites, and materials in a wide range of disciplines including painting, sculpture, installation, performance, video, and collage. Students will investigate their personal/familial experiences to communicate their concerns around oppression and racism around cultural identity, belonging, and kinship to build utopian or dystopian sites. This course will support students who are seeking to engage with socio-political discussions around identity and world-building to be integrated with their practice and research. This class will be using issues around historical and contemporary cultural activities as a catalyst to examine the categories of site, space, and world. We will ask such questions as: What is the theoretical framework of worlding concerning contemporary art? How can we imagine the unimaginable, and how can we transform it into tangible or intangible things? What is a public sphere and what are our responsibilities in building it? How can we examine "world-building" in art and cultural production? How can the work or site best be seen by spectators? How can we create space or work within a space through virtual reality? Estimated Materials Cost: $100.00

Spring 2022

  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. This is a hands-on course, designed for advanced painting students who are fascinated by color, surface, transformation and alchemy, DIY processes, craftmanship, invention, and the stuff of paint. It is for those who are eager to dive deep into all sorts of materials, methods and techniques. The objective of the class is to arm students with the tools and resources to figure out how to make what they imagine and to expand their practice through material exploration and information sharing. With an emphasis on experimentation, play, research and development; advanced students explore, problem solve and implement specific grounds, paints, supports, mediums and tools into their own practices. The level of specialization and expertise students may eventually desire for their work could require seeking the advice of paint manufacturers, conservators, fabricators, other artists or even experts in other fields. How to identify and acquire knowledge outside of one's comfort zone, approaching and finding a common terminology with peers and specialists is also a part of this course. Relevant art historical and contemporary methodologies, techniques and materials will be presented. Environmental Health and Safety guidelines that apply to painting practice and painting studio safety will be an integral part of this course. Estimated Materials Cost: $150.00 Major elective; Painting majors only. Open to juniors and above.
  6. At a time where digital, three-dimensional space has saturated our visual vocabulary in everything from design, social interfacing, gaming, and entertainment, now, more than ever, it is important to explore this space and find methods for unlocking its potential. This is an interdisciplinary course that specially focuses on the integration of 3d digital space with painting and drawing. Students will be introduced to 3D modeling through geometric modeling using Rhinoceros3d, as well as organic modeling using Zbrush. Together, the introduction and application of these softwares will provide you with a comprehensive understanding of 3D tools in everything from modeling, drafting, staging, texturing and rendering. We will explore specific methods of exporting digital compositions to physical drawing and painting surfaces, as well as importing physical media into digital space to enhance digital, 3d construction. Great emphasis will be placed on experimentation in navigating between the digital and physical processes. Exercises and assignments will be contextualized with lectures, readings and critiques. This will be a hybrid class that combines synchronous/asynchronous instruction, along with in-person critiques every three weeks. General knowledge of painting and drawing, as well as Adobe Photoshop and Illustrator required. Open to sophomores and above.
  7. The work intensive studio course will involved students in an intense visual, aesthetic and theoretical discussion around the historical relationship of Cinema to Painting and Arts Culture in general and move on to the analyze the current embodiment of Cinema's more conflated and confounded, co-dependant relationship to the Art's of today, tapping into the cross-pollination resulting of imagery, politics and theory's as they apply. Each class meeting will involve studio work and discussion and culminate with a film screening. The film screenings will move forward from Cinema's very beginnings to a few of today's best Indie films. The concentration of the course will be assigned painting projects that will be direct responses to the films being screened and related critiques of these projects as they pertain to the films and the applicable supplemental literature, allowing the discussion around Cinema, cinematic and art critical theory and the Art culture to be transferred to the students individual works thus allowing for the work to be seen in a larger context.
  8. 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.
  9. 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.
  10. This class, required for painting majors in spring semester of sophomore year, describes five defining features of modernity, providing the broad historical backdrop for their "invention": the individual, globalization, nature, industrialization, and abstraction. The first half of the class will be devoted to the visual art of varied geographic and cultural settings prior to and during the rise of these paradigms. The second half of the class slows to focus in greater detail on the high modernist manifestations of each of those themes (interiority, capital, environment, technology, and narrative), and uses them to contextualize the art and culture of the 20th century. Periods, places, and subjects will be introduced through secondary sources, providing a critical lens through which to connect the material to present day art, culture, politics, and experience (for instance, the rise of global trade will be seen through the lens of postcolonial theory). The material for the course ends at approximately 1989, setting the stage for a more in-depth look at contemporary art, culture, and criticism in their junior year course. Sophomore major requirement; Painting majors only. Permission of Instructor required.
  11. 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 the academy, the institution 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 and their cultural frameworks from the 1990s to the present. Frequent studio visits will occur and drive some of the reading and discussion. Graduate elective Permission of Instructor required.
  12. 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. Permission of Instructor required.
  13. 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.
  14. 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.
  15. 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.