Artspaintingiiv

ARTS 210 • 211 • 235 • 236 Painting I, II, III, & IV

Description This class is a mixed group of Painting I and II-IV students. Painting I will meet 2-7PM, Painting I-IV will meet 3-8PM. Painting I is an introduction to the techniques of acrylic and oil painting. Aesthetics, color theory and methods of applying paint will be explored through creative problems.

Self-expression will be encouraged. Assignments will cover various subject matter, including still life, figure model, landscape, and abstraction. Students may choose to focus on oil or acrylic as their dominant medium for assignments. Students will purchase most of their own art supplies.

Painting II-IV is a continuation of Acrylic and Oil Painting I with emphasis upon individual creative expression. Traditional techniques such as glazing and impasto will be further investigated as well as more experimental approaches to painting such as mix-media, multi-panel, and painting installations. Traditional subject matter such as the landscape and the figure model will be painted, as well as subjects chosen by the student.

Students may choose to focus on oil or acrylic as their dominant medium for assignments. Students will purchase most of their own art supplies

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Expectations

It is expected that every student contribute genuine and focused intent to the study of art history and critical theory with energy and curiosity.

Time must be put aside for reading and assignments outside of class sufficient to arrive at class ready to participate. Students are expected to be engaged with art and art history as it is presented to them and are expected to be open-minded to art modes, abstraction, new ideas and criticism. Participating in critique is a requirement and will be graded (see ‘Grading’).

Course Goals

Our goals for the course include, as stated on the course outline: - Develop a general knowledge of painting techniques and materials for oil and acrylic paint.

- Develop knowledge of color theory as it applies to painting.

- Demonstrate an ability to use paint as a means to convey a creative visual idea.

- Enhance their creative sensibilities through the use of paint - Develop and demonstrate critical analysis skills both verbally and in written format.

- Develop knowledge of a wide spectrum of paintings from various eras and cultures, including the contemporary.

Accommodations

Students with disabilities who require accommodations (academic adjustments and/or auxiliary aids or services) for this course MUST provide documentation of accommodations from the RVCC office of Disability Services, C143. No accommodations will be made without this documentation.

Plagiarism

The RVCC Student Code of conduct applies to both artistic and written assignments. Instances of plagiarism will be reported to the Dean.

Please review the current RVCC policy on plagiarism: http://library.raritanval.edu/faculty/plagiarism/policies.asp#currentpolicy and http://www.raritanval.edu/uploadedFiles/studentserv/conduct/Student% 20Code%20of%20Conduct2012.pdf

Academic Support

The Academic Support Center in S020 offers free, drop-in tutoring and assistance with editing papers. This attention to grammar, flow and structure can often make a full letter grade difference in papers. Hours are: Monday–Thursday: 9:00am-8:00pm, Friday: 9:00am-3:00pm, Saturday: 10:00am-2:00pm

Email Policy

I am available to respond to emails between 9am and 9pm, Monday through Friday as long as I am not otherwise engaged in teaching or other scholarly activity. I am also available for advising during posted office hours. Please email me for an appointment.

Attendance

School policy: Students are expected to attend all classes for every course in which they are enrolled. To accommodate students’ reasonable, personal situations that might prevent them from attending

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classes, each student is entitled to excused absences amounting to the equivalent of one week’s class time in a semester. Absences in excess of this standard are handled individually by each faculty member. A student with absences amounting to one-fifth or more of the term’s lecture or laboratory classes may be recommended to withdraw from the course.

Registration

Registration status is the responsibility of the student. If students wish to withdraw from the class, they should make sure they do so through the Registrar.

Grading A B+ B C+ C D

Excellent [90-100] Very Good [87-89] Good [80-86] Between Good and Satisfactory [77-79] Satisfactory-completed all assignments to minimum requirements [70-76] Lowest passing grade, did not complete all assignments [60-69]

Satisfactory achievement (a “C” grade) in the course means you have completed all assignments, papers and readings to meet requirements and participated in discussion. Excelling beyond expectations will earn you B or A grades.

Grading of assignments will be based on 1) Achievement of the specific goals set forth in the assignment, 2) Willingness to take risks and experiment, 3) The success of those risks and invention, 4) Cohesiveness of conceptual and formal qualities. Additionally, you will be graded on your participation in class discussions, your command of concepts and vocabulary and your willingness to take artistic and creative risks with your art projects.

Open-mindedness to new and foreign concepts is a requirement of education - and in this class it is especially important: Approach unknown art and ideas with curiosity and intellectual examination.

Midterm

You will be made aware of your status in the class at the Mid-term. If you are not satisfied with your progress in the class, the midterm is an opportunity to speak to me about how to improve your grade. Students are expected to take responsibility for their grades, and arrange to meet with me outside of class if desired.

Gallery trip

You are expected to attend the class trip to Chelsea, New York to view contemporary art. If you cannot attend this trip, discuss with me your arrangements to see contemporary art on your own.

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Outline of Course Content for Painting I Week 1

Introduction to the course, Historical and Contemporary Painting lecture and discussion, Painting sketchbooks

Weeks 2-4

Glazing vs. Wet-into-Wet: Monochromatic underpainting, glazing and scumbling, wet-into-wet quick studies in acrylic, mediums for body and flow

Week 5-6

Contemporary Landscape: Local and non-local color, colored grounds, using a plein-aire study to develop a finished work Artists: David Hockney, Kristin Baker, Milton Avery, Peter Edlund, Claire Sherman

Week 7

Non-traditional paint applications: Masking, Spraying, Atomizer, Impressions, Collage Artists: Elizabeth Huey, Allison Schulnik, Wendy White, Carrie Moyer, Kim Fisher, Beatrice Milhazes, Keltie Ferris

Week 8

Flatness and Texture: Mixed media works in silkscreen, transfer, collage, relief and/or threedimensional elements Artists: Fabian Marcaccio, Angela de la Cruz, Matthew Ritchie, Jeffrey Gibson, Ron Gorchov

Week 9

Narrative and Series: Painting in series, representation and context, allegory and symbolism Artists: Neo Rausch, Amy Wilson

Weeks 10-11

Painting the figure: Painting gestures of the figure, complementary color quick studies, color theory and painting flesh Artists: Mickalene Thomas, Elizabeth Peyton, Lisa Yuskavage, Kaye Donachie, Luc Tuymans, Peter Doig, Dana Schutz, Jenny Saville

Weeks 12-14:

Open studio time for Final painting portfolio

Final exam

Final group critique

Outline of Course Content for Painting II-IV Portfolio

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You will complete a portfolio of finished paintings based on your proposed interests, as well as numerous studies, small works and sketches. The content will be largely up to you, although I will start off with some frameworks for you to work within.

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Weeks 1-6 make four finished paintings and 10 studies, each utilizing one requirement from the “Media” category and one requirement from the “Frameworks” category in any combination.

Weeks 7-14 continue to develop paintings based on your proposal and furthering the ideas explored in the first six weeks.

Media: - Non-objective Painting: Based on a non-traditional value system, you may use process painting, geometry, pattern, chance - Alternative Media: Painting on an alternative support or media such as acrylic on objects, spraypaint on plastic bags, etc.

- Opposite Painting: Painting that is opposite in a challenging way content, approach or idea - to your typical work).

- Figure Painting: Finished figure painting plus 6 studies Frameworks: - Interior/Exterior: In and outside of houses and architecture, the body, or intellectual boundaries - Micro/Macro: Work with ideas of scale - Narrative: Work in series, tell a story in a single canvas, or create a frame animation of a painting developing over time - Black/White: Work with the idea of opposites – colors, textures, meanings Class Schedule Week 1

Discussion of technical skills, semester project proposal, goals

Week 2

Proposals and previous work Initial sketches for alternative and opposite paintings

Weeks 3-9

Studio time and final hour critique

Weeks 10-11

Painting the figure

Weeks 12-14

Studio time and final hour critique

Final exam

Final group critique

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