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Fall 2020

  1. Collaborative Study

    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. Crisis Studio / Studio Crisis

    This fully-remote 6-credit critique-based studio will help students deepen and expand on the interests already present in their practices despite / in response to / through the lens of the present confluence of crises. All artists concerned with the ability of their work to respond meaningfully to continual upheaval will find support for their efforts here (sometimes in the form of difficult questions). Traditional approaches to artmaking will coexist alongside topical, collective, and activist strategies. Individual and group critiques, seminar components, and guided independent work time will highlight the potential for intimacy, productive vulnerability, and community responsibility to be found in online formats. The content of all work made for the class will be addressed directly, and the values and wellbeing of each artist - as a whole person - will be emphasized in considering the development of practices sustainable in the long term. Flexible synchronous and asynchronous content will aim to meet the needs of all students. The course will be taught by faculty with extensive experience of (and healthy skepticism about) online studio education, and is open to students at all levels. Substitution for major credit in Painting I, III, or Workshop will be accepted.

    Estimated Materials Cost: $100.00

    Elective; open to seniors and above.

    Permission of department required; course not available via web registration.

    Open to non-majors pending seat availability and department permission.

  3. 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.

  4. 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.

  5. 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.

  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 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.

  15. 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.

  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 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.

  18. 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.

  19. 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.

  20. 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

  21. 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 THAD-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

    Permission of Instructor required.

  22. 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 2021

  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. 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.

Spring 2021

  1. Color Studio

    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. 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. 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, 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. 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.

  7. 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.

  8. 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.

  9. Integrations Of 3d Modeling In Drawing and Painting

    This is an interdisciplinary course that explores drawing paralleled in digital and physical processes. At a time when digital, three-dimensional space has entered our visual vocabulary in everything from commercial and social interfacing, game design, and entertainment, now more than ever is it important to understand, build, and explore its potential. Students will be introduced to 3D modeling in both geometric and organic forms, as well as pursue physical drawing and painting methods conducive for digital integration. We will explore how physical drawings may be imported into the digital world as aids for 3D creation, as well as how 3D digital models may be exported into the physical world for 2D drawing and painting. 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. Basic drawing skills and general knowledge of Adobe Photoshop and Illustrator helpful, though not required.

    Major elective; Painting majors only.

    Open to sophomores and above.

  10. 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.

  11. 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.

  12. 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.

  13. 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.

  14. 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.

  15. 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.