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Next class, September 30

For Tuesday’s class please bring the project that you are working on plus any additional materials that you might need. Please install your work in the crit area so that we can have a look at your progress and possibly provide suggestions.

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Next Class: Sept. 23

Please bring materials to begin your project. For example you should bring a surface to work on whether it be canvas or cloth or wood, plastic, styrofoam, drywall etc. Also bring supportmaterials such as wood for a stretcher or framing devices such as metal etc.

For Tuesday’s class we will be experimenting with the literal, physical, objective qualities of the language of painting. Remember that this first part of the project is to test our understanding of this language, to experiment and to increase our vocabulary. It is very important to put aside obstacles and reservations that might prevent you from fully engaging in this process. Remember our discussion about vision and the types of barriers that impede it.

Also due for Tuesdays class is the composition based on 9 material processes.

Have a good weekend.

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Paint as Object

Lecture Sept. 16, 2014

Paint as Object

Artists included:

Morris Louis, Lucio Fontana, Pat Steir, Lynda Benglis, Christian Eckart, Richard Aldrich, Anna Ostoya, Jabob Kassay, Robert Rauschenberg, Josh Tonsfeldt, Ida Ekblad, Wyatt kahn and others.

Benglis At Work

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Student meet and greet at Forest City Gallery

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https://www.facebook.com/events/620168674769872/?ref_newsfeed_story_type=regular

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Lecture One: September 9, 2014

Lecture: What is Painting

Homework:

Choose one of the images in this presentation, identify the artist and the date, and based on your close reading of this painting discuss the following questions:

1) What is the relationship between subject matter and materials (i.e. use of paint, gesture, colour etc.)?

2) How is illusion problematized, or put another way how is “flatness” emphasized, and what is the impact on the painting’s meaning?

3) What does the manner in which the painting was made–it’s materiality, process, technique, colour and so on–reveal about the artist’s inner state? Is this important? If so, why? If not, why? Back up you answers with evidence.

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Part One: Paint as Material Contingency

This first project will focus on the material language and possibilities of paint and its attendant structures. That is, through a close reading of the structural language of painting (canvas, gesso, stretcher bars, pigment, colour, texture, scale etc.) this project will both explore the inherent potential of painterly expression while also critically examining the generalizations, assumptions and the things we take for granted in this form of expression. For example certain key questions arise such as: Why are paintings flat? Do they need to be rectangular? What is an image? Is a painting an object? What is abstraction?

Project One will place a great deal of emphasis on physical experimentation in an effort to help students become aware of their own methodology as well as forcing a closer examination of the material process involved the act of making a painting. Ultimately this project seeks to explore false dichotomy of subject matter/technique or even form and content. The resultant investigations will be organized and curated in an exhibition at artLAB Oct. 31- Nov. 13.

 Artists to consider:

Paul Klee

Hannah Hoch

Gertrud Preiswerk

Anni Albers

Ellsworth Kelly

Gerhard Richter

Sigmar Polke

Julie Mehretu

Robert Ryman

 

John Cage

Agnes Martin

Jessica Stockholder

Sergei Jensen

Sandra Meigs

Shirley Wiitasalo

Israel Lund

Matt Connors

Jacon Kassay

 

Tom Humphries

Elizabeth McIntosh

Sue Tompkins

Will Benedict

Julie Dault

Anna Ostoya

Fredrik Vaerslev

Charles Mayton

Marine Hugonnier

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Exploring the physical properties of paint

Part One

Dividing a 24″ X 30″ piece of paper into 9 equal parts, paint each component part using the following processes:

1) action/expression

2) direction

3) scumbling

4) wet on wet

5) impasto

6) sfumato

7) overlaying/cross-hatching

8) using a resist

9) patina

Part Two

Create a composition using as many of these technical processes as you can. How you go about applying these various processes is up to you, but concentrate on create a convincing composition. Please note that this composition shouldn’t resolve itself into a recognizable image (like a face, house, cat etc). Rather the constituent parts should be resolved through the creation of meaningful relationships; each part should feel connected to the whole as if it were in a conversation.

Both parts one and two are due for critique September 23.

 EL_Vase_2011

 

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Welcome to 3310 adv. painting 2014-15

Advanced Painting will explore the visual language of painting. Through exposure to a range of theoretical and conceptual concerns, and rigorous experimentation with material-specific processes, this course will investigate the discipline of painting while emphasizing the individuation of the student’s pictorial language. Students will be encouraged to develop working methodologies in the realization of their own independent studio work while also exploring themes outlined by the instructor. The course materials will be shared through instructor and student-led presentations, group critiques and discussions, assigned readings, and studio projects.

Experimentation and a willingness to challenge inherited perceptual models will be encouraged as students develop greater independence and clarity of vision. The instructor will work with students individually to address technical and theoretical concerns specific to their studio projects. There will also be group critiques and discussions relevant to the course content.