Painting

Hybrid Approaches to Drg & Ptg: Digital Media

Course No. VAT327.1  Credits: 3
Faculty Kristen Baumliér-Faber

Emphasis is on integrating digital processes into studio practice and production. The class deals with a spectrum of digital applications in a studio practice including straight forward digital output, using digital as a means of producing source material as well as actually integrating digital processes into the production of work. Through slide presentations, viewing actual work, discussions and readings, students will be introduced to the place of the digital in contemporary studio practice. In studio production, students will use varied media and subjects, both traditional and non-traditional, to further develop their analytical and expressive means in their creative practice. Students are encouraged to draw from many disciplines incorporating them in the projects presented to the class for group critiques. Open to all Students Ð required of Print and Drawing Juniors. 3 credits.

Image & Form I

Course No. VAT200.2  Credits: 3
Faculty Sarah Kabot | Tommy White | William Lorton

Image/Form promotes a general understanding how images work and are developed, which is a fundamental aspect of the Visual Arts. The course introduces the students to the various means by which images can be rendered, such as by drawing, painting, carving, embroidering, etching, etc., as well as by digital means, by appropriation, and by the use of ready-mades. The students are also introduced to the diverse ways in which images and forms can be manipulated, or manifested conceptually and materially by exploring the inter-relation between 2 and 3 dimensions, as well as in time-based media by the use of collage or assemblage. In doing this, we introduce them to the concept that an imageÕs "form," consisting of its physical and spatial qualities, as well as the technical qualities of their chosen mode of production, is part of its content. By these means they are introduced to practical and semiotic nature of images and their production in the context of the contemporary by means of assignments, readings, discussions, and studio critiques. Open as elective to all majors. This course is required for all sophomore students in VATe. Offered fall. 3 credits.

Intro to Painting: Painting History (1828-2010)

Course No. PTG221.2  Credits: 3
Faculty Lane Cooper

This is a beginning painting course; it is a prerequisite for painting electives and all advanced painting courses. Students are asked to approach painting pre-photographically (as if the year were 1828.) Students are introduced to the fundamentals of a traditional painting practice with an emphasis on observational rendering and applied color theory beginning with Newton. Students will learn about color mixing, brush types, support construction and general canvas preparation. Students will paint from life learning how to capture the three-dimensional world on a two-dimensional surface as well as how to use material working through shape, form, texture, and mark to create an illusion of space and mass. Through Critiques, discussions, readings, slide presentations, and museum visits students will develop vocabulary and critical thinking skills essential to their studio practice as well as a sense of the history of painting leading to contemporary practices.

Painted Bodies: The Contemporary Figure

Course No. PTG220/320/420  Credits: 3
Faculty Royden Watson

This course deals with the position of the figure within contemporary painting and a studio practice extending from that position. Figurative painting represents the continuation of a tradition that extends back before history and is yet poised to reach into any foreseeable future. Class discussions will be based on readings that deal with critical and historical issues surrounding the figure in painting and on the work of contemporary artists dealing with the figure from a painting perspective. By the end of the semester students will be expected to develop a cohesive body of work dealing with the figure as its subject. The student will also be required to articulate a statement that situates their work within a contemporary practice of figurative painting.

Painting Beyond Observation

Course No. PTG232/332/432  Credits: 3
Faculty Tommy White

Continued emphasis on material, color, and skill-building. Students will work with primarily with acrylic paint. This class moves beyond observational rendering and focuses on other approaches to developing content for work. Class topics focus on contemporary issues in Painting including: "What makes a Contemporary Painter? What is Painting? What is a studio practice? What does it mean to be a professional?" Some of the topics to be considered: abstraction, representation, perception, mimesis, conceptual, subject, reality, expressive, authorship, and interpretation. A few of the artists that will be looked at: Kandinsky, Duchamp, Arshile Gorky, Jackson Pollock, Ad Reinhardt, Gerhard Richter, Jack Whitten, Peter Saul, Agnes Martin, Pipilotti Rist, Lisa Hoke, Jessica Stockholder, Jenny Saville, et. al. This course is open to all non-Painting major students as an elective. It is required of all Painting Major Sophomores.

Painting Seminar: Contemp Issues in Ptg

Course No. PTG422M.2  Credits: 3
Faculty Daniel Tranberg

In preparation for the student's final BFA defense and for working beyond an undergraduate level, this course focuses in an advanced manner on the seminal issues covered over the course of the student's visual arts education. Questions of style, aesthetics, concept, meaning, and context are addressed. Particular emphasis is given to issues concerned with presentation, "framing," audience and reception. Students are expected to engage in critical discourse surrounding the work of fellow students, established artists and their own work. By the end of the term students are expected to clearly identify the subject of their work, defend their choices in relation to this subject as well as discuss reasonable expectations of audience reception. Course readings will be given in relation to these topics as well as the maintenance of a professional studio practice. Required for all 4th year Painting majors and open as an elective to any senior or with the permission of the instructor or Painting Head. 3 credits.

Painting: Constructing Narratives

Course No. PTG235/335/435  Credits: 3
Faculty Royden Watson

Every painting implies a narrative, whether it is a story being told through the images or the story of how the painting itself was made. This class is focused on what constitutes a narrative and the creation of content and strategies in painting. Students will consider implied, explicit, rhizomatic and linear narratives. Through studio practice, lecture and discussion students will engage in producing visual and conceptual narratives within their work. Through investing narrative students will move beyond the fundamentals of Painting and focus on the development of a personal practice as framed by contemporary standards. Students will be expected to do research and generate a project reflecting their personal interests. By the end of the semester students will have identified a subject and created a group of works focused on this subject. Further students will be asked to work toward an artist statement to accompany their work. This course is open to all non-Painting major students as an elective .

Pho/VAT: Installation & The Constructed Object

Course No. VAT326.1  Credits: 3
Faculty Barry Underwood

This course is a special topic course designed to cover the design, construction and lighting of installations, stage sets, and performance spaces. Students will investigate contemporary applications and approaches to subjects specifically composed for the camera, and document installations that exist outside of the studio environment, with an emphasis on the genre's relationship to historical and contemporary theatre. Workshops include traditional camera formats, digital cameras, advanced studio lighting, basic electricity and carpentry, with an emphasis on scenery design. Students will plan and create small-scale models of stage designs; scale up these designs, and document their design. This course will be of special interest to students working in both installation and industrial design. Open to all students. 3 credits.