Fall 2018

  1. Collaborative Study

    A Collaborative Study Project (CSP) allows two students to work collaboratively to complete a faculty supervised project of indepedndent 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. Digital Tools For Artists

    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. Drawing I

    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. EHP Fall: Studio Concentratio

    In this intensive independent studio students continue and complete the work began in "EHP Studio Elective", culminating in the final exhibition and review. It corresponds to the remaining four weeks of the program, after students have finished with their Art History and Italian classes.

    Note: EHP credits replace the on-campus major requirements for the term students attend. Distribution to non-major requirements occurs when major credits are not needed.

  5. EHP Studio Elective

    Independent studio is at the core of the EHP experience. Upon arrival, students are assigned studio space at the Palazzetto Cenci, home of RISD's program in Rome. With guidance from the chief critic, each student develops a personal body of work sparked by his/her interactions with places, people and circumstances in Rome and other locations that are part of the EHP tours (such as the Northern, Southern or Eastern tours, as well as other shorter trips.) The work takes as a point of departure knowledge and techniques specific to individual home departments, but allows, and even encourages, explorations beyond disciplinary boundaries, including collaborations and cross-fertilization within a group of students from different departments working together.

    Beyond consistent and thorough engagement with studio work, requirements include participation in open studios and exhibitions, presentations in reviews, and attendance to all group activities and events, such as lectures at the Cenci and other institutions. From time to time, the chief critic may issue short assignments to introduce or focus on a particular subject. As part of the studio elective, students may be encouraged to keep sketchbooks and/or diaries, participate in optional activities--such as figure drawing sessions--and search for brief internships, apprenticeships, or other forms of interactions with local artists, designers, curators and critics.

    EHP Studio Elective corresponds to the first twelve weeks of the program, while students are also taking Art History and Italian classes. This course establishes the direction for the work in the "Studio Concentration" course that follows.

    Note: EHP credits replace the on-campus major requirements for the term students attend. Distribution to non-major requirements occurs when major credits are not needed.

  6. Experiments In Drawing

    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.

  7. Fundamentals: Painting Methods and Materials

    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.

  8. Graduate Drawing

    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.

  9. Graduate Paint Studio Critique I

    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.

  10. Graduate Paint Studio Critique III

    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.

  11. ISP Major

    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.

  12. ISP Non-major Elective

    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.

  13. Painterly Prints

    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.

  14. Painting Degree Project

    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.

  15. Painting I

    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.

  16. Painting III

    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.

  17. Painting Workshop

    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.

  18. Professional Internship

    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.

  19. Professional Practices In Painting

    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

  20. Senior Honors Interdisciplinary Critique

    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 HAVC-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.

  21. Three Critics

    "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 2019

  1. Color: A Workshop For Artists and Designers

    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

  2. Foreground/background: Interplay Between Surface and Imagery

    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.

  3. ISP Major

    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.

  4. Millennial Pink: The 21st Century Portrait

    The dictionary defines "portrait" as "a painting, drawing, photograph, or engraving of a person, especially one depicting only the face or head and shoulders." In the 21st century, technology has extended portraiture beyond analog methods for the depiction of physical appearance into digital methods for shedding light on the subject's identity, likes/dislikes, and interests. Take for example how journalists, researchers, and fashion designers have used a certain shade of pink-"millennial pink"-to describe a generation. This pink was popularized by commercial interests, (e.g., Pantone naming it "color of the year" for 2016, or its appropriation by lifestyle bloggers and journalists as a way to portray millennials as a generation of androgyny, and one in which women reclaim femininity) in order to sell pink-colored products to all types of women as well as to men. Self-quantitative data, analysis of online communications with other users, social media "likes," and avatars (virtual alter egos) are all technologies for portraying people that do not necessarily center on those people's physical appearances. Through this course, we will explore how digital tools, such as data collection and digital collage, can be used alongside analog methods, such as drawing and painting, to create portraits of oneself and others. We will look at artists from Sascha Braunig, Felix Gonzalez-Torres, and Richard Prince, to Amalia Ulman and Kim Kardashian.

    By the end of the course, students will have explored various digital approaches to portraiture, such as the free Snapchat program, Lens Studio, and other social media platforms, in order to develop their own unique perspectives on, and practices of, portrait painting in subversion of the commercial intention of these platforms. While each painting and drawing assignment will focus on specific course-related topics, students will be encouraged to think about how these ideas and topics relate to and influence their work outside of the course. Studio assignments will be completed through digital and analog collage, computer and smartphone applications, drawing, and painting; and will be accompanied by short reading assignments and discussions, class lectures, critiques, and visits to the RISD Museum and Co-Works.

    Estimated Materials Cost: $125.00

  5. Monster

    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.

  6. Painting From Observation Marathon

    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.

  7. Perceptual Place: Reimagining Today's Landscape In Painting

    The landscape as a genre was largely defined throughout Western art history as "pictures of the countryside," but the word "landscape's" multitiered definition reaches beyond what could be depicted. After substantial rethinking prior to and during early modernism, the subject has seemed to decline in popularity. With traditional schools of thought and regionalist painting having become things of the past, the idea of landscape painting calls for updating to suit the times. This class will challenge students to engage the idea of the landscape from various perspectives such as the natural, social, political, and digital landscape, among other things. The goal of the class is to focus on visualizing and communicating a sense of place within the multifaceted world we navigate today.
    Students will take on the task through a series of drawings, a collage assignment, and midterm and final painting project. Though the first 3 projects are assignment based, the final will allow students to propose and develop their own ideas from scratch. The class will emphasize an attention to notions of space, composition and materiality as they relate to the terms and conditions of today. A variety of approaches are encouraged, provided they relate to the language of painting. Weekly readings will be distributed and in-class discussions will help contextualize the themes. We will look at modern and contemporary artists working with the landscape, and use their work to locate key points of discourse.
    Estimated Materials Cost: $175.00

  8. Primary Sources Illuminating The Ocean Deep At The New Bedford Whaling Museum

    "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.

  9. Queer Painting

    How does queer theory impact the ways we look at painting, and how have painters been informed by queer theory? Is there such a thing as queer painting? In this studio course, students will create works in response to and in conversation with assigned queer theoretical texts. Readings will include work by Judith Halberstam, David Getsy, Samuel Delaney, Audre Lorde, Eve Sedgwick, Guy Hocquenghem, Judith Butler, David Wojnarowicz and more. Class time will be divided between studio and class discussions, and we will have guest speakers join us for discussion. Artists and collectives we will look at include: David Wojnarowicz, Mickalene Thomas, Amy Sillman, Nicole Eisenman, Group Material, Celeste Dupuy-Spencer, Carrie Moyer, Marsden Hartley, David Hockney and more.

    Estimated Materials Cost: $125.00

  10. Rainbow Glow

    Sunlight looks white; it's not the absence of color but the sum of all visible wavelengths. Rain droplets are suspended liquid prisms. "White light" enters a prism and is bent by refraction. Different wavelengths of light bend at different angles and white light separates into violet, indigo, blue, green, yellow, orange, and red creating a rainbow. Color is, in a certain sense, an illusion, and our experience of it is subjective. Our brains convert a certain range of the electromagnetic spectrum into what we call color. We can measure the wavelength of radiation but we can't measure the experience of a color inside the mind. Physics hasn't achieved a way of knowing whether one person's red is the same as another's. In this class we will explore individual perceptions of color.

    Our exploration begins with the separation of white light into its constituent parts. Students will progressively discover how perceptions of color are altered by compositional interactions and lighting. The class consists of observational oil painting sessions in which the lighting of a set up and model are controlled to focus on one of the colors that makes up "white light." For example, in the first session the model-set up will be lit entirely by violet bulbs. After this violet-lit session students will be expected to make a still life focusing on different tonal values of indigo. The class will progress through the spectrum with analysis, criticism, group discussion, and critiques, in addition to looking at traditional and contemporary painters that make exciting use of color. This is not a course about mastering the traditional approaches to understanding the operations of color. Rather, this studio course is about allocating a month to exploring color interactions and paying deeper attention to the variations that exist even within monochrome scenarios. Physics readings will prove that color is determined by the observer's eye and the artists we discuss will show how rich color observation and application can become, encouraging the student to make thoughtful and deliberate color choices within and beyond the class.

    Estimated Materials Cost: $150.00

Spring 2019

  1. Case Studies:contemporary Art

    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. Overlapping nodes, or case studies, each accompanied by readings and a list of relevant artists, guide our investigation. We will engage the lens of painting to address topics that span: Endings and Beginnings, the Role of the Institution, the current Political/Environment, Alternatives and Exhibition Models, and Painting Today. We will draw on current exhibitions and art criticism. The course will be seminar style sessions interspersed with critique and discussion of the work of enrolled students.

    Major elective; Painting seniors only.

    Permission of Instructor required.

  2. Contemporary Art and Criticism

    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. Critical Curating

    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. Drawing II

    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. EHP Sprg:studio Concentration

    In this intensive independent studio students continue and complete the work began in "EHP Studio Elective", culminating in the final exhibition and review. It corresponds to the remaining eight weeks of the program, after students have finished with their Art History and Italian classes.

    Note: EHP credits replace the on-campus major requirements for the term students attend. Distribution to non-major requirements occurs when major credits are not needed.

  6. EHP Studio Elective

    Independent studio is at the core of the EHP experience. Upon arrival, students are assigned studio space at the Palazzetto Cenci, home of RISD's program in Rome. With guidance from the chief critic, each student develops a personal body of work sparked by his/her interactions with places, people and circumstances in Rome and other locations that are part of the EHP tours (such as the Northern, Southern or Eastern tours, as well as other shorter trips.) The work takes as a point of departure knowledge and techniques specific to individual home departments, but allows, and even encourages, explorations beyond disciplinary boundaries, including collaborations and cross-fertilization within a group of students from different departments working together.

    Beyond consistent and thorough engagement with studio work, requirements include participation in open studios and exhibitions, presentations in reviews, and attendance to all group activities and events, such as lectures at the Cenci and other institutions. From time to time, the chief critic may issue short assignments to introduce or focus on a particular subject. As part of the studio elective, students may be encouraged to keep sketchbooks and/or diaries, participate in optional activities--such as figure drawing sessions--and search for brief internships, apprenticeships, or other forms of interactions with local artists, designers, curators and critics.

    EHP Studio Elective corresponds to the first twelve weeks of the program, while students are also taking Art History and Italian classes. This course establishes the direction for the work in the "Studio Concentration" course that follows.

    Note: EHP credits replace the on-campus major requirements for the term students attend. Distribution to non-major requirements occurs when major credits are not needed.

  7. Experiments In Materials and Techniques Workshop

    This is a hands-on course, designed for advanced painting students who are fascinated by color, surface, transformation and alchemy, DIY processes, craftsmanship, 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.

    Major elective; Painting majors only.

    Open to junior and above.

  8. From Painting To Cinema and Back Again

    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.

  9. Graduate Paint Studio Critique II

    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.

  10. Graduate Painting Studio Thesis

    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.

  11. Group Material:tactics In Collaboration

    Collaboration, by its very nature, confronts the mythos of the isolated artist. It disrupts individualism with collectivity, fractures myopia with context, and challenges expression with exchange. Through studio work, research and critique, we will build nuanced positions around notions of collaboration: utilizing tactics of the collaborative, collective and plural. We will explore ideas of shared labor, self-organization, collective production, outsourcing, call & response, appropriation, anti-hermeticism, performativity, community engagement, nomadism, and participation. We will unpack these notions in seemingly contradictory ways, as both methods of creativity and as strategies for critical reflection. Our research will cover a history of collaborative projects with screenings, readings, lectures and student led presentations. To survey our research: we will start with Oscar Wilde's opera with Richard Strauss Salome, onto Dada, the Futurists, films of Jack Smith and his work with Warhol, Carolee Schneemann's works with James Tenney and Yvonne Rainer to more contemporary projects such as Hope Ginsburg, Stephanie Syjuco Harun Farocki and Adelita Husni-Bey. We will observe and analyze performative works of installation, performance, film, painting and expanded fields to build a broaden understanding of what collaborations means today. (There is an extensive list of artists we will pool in our discussions, lectures, research projects and screenings included in the weekly syllabus) Our analysis will start with the intimate & subjective material of collaborative works panning out to the cultural conditions that provoke, necessitate and reside within such efforts. We will unpack how those bodies of work either support or challenge what we come to understand as collaboration. Culminating in two stages, our studio work will take two forms. First a two-person collaborative work to be completed for midterm reviews. Lastly final collaborative projects to be presented in a group exhibition at semester's end.

    Elective; open to all majors junior and above.

  12. Introductory Prehistory Of Contemporary Art

    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.

  13. Meaning In The Medium Of Painting

    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.

  14. Painterly Prints

    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.

  15. Painting Degree Project

    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.

  16. Painting From Observation

    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.

  17. Painting II

    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.

  18. Painting Iv

    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.

  19. Painting Refocus: Material Explorations

    Working with a wide variety 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. Encouraging idiosyncratic, individualistic art making with a heightened attention to the tactile nature of materials students will explore visual culture through informed readings and targeted artists. "Art supplies" will come from Home Depot and recycling as much as Utrecht and Blick. Employing the recycled, the found and gathered, the manufactured and the natural, the art made will be critiqued for both presence and meaning. Assignments will be introduced through the screening of classic Sci-Fi films that will act as a prompt for each project.

    Elective; open to all majors.

Departments

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