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| Gutwirth/ext. #4434 leave messages by e-mail not by phone |
| Office hours: |
| or by appointment |
| e-mail: sarah.gutwirth@murraystate.edu |
| 3 Credit Hours ART 334 Painting III |
| Intermediate Painting |
| Syllabus |
| CATALOGUE DESCRIPTION |
| Continuation of Art 330 |
| PURPOSE |
| To instruct students in the concepts and contemporary context of painting. |
| COURSE OBJECTIVES: |
| I have set up a series of problems that run from quite structured to very loose for this class. It is geared toward getting each individual to start to develop a sense of responsibility for their own ideas and images. The ideas for these assignments are drawn from concepts relevant to contemporary art. |
| Content Outline |
| You will be required to finish the minimum of seven paintings. For each assignment you must look up the artists which I give you as examples. Not all work by each artist is necessarily relevant to this topic so you need to do some research. You must use the web as a starting point only and see books and art periodicals as well. |
| 1. Painting which has two different kinds of sign system (image/text for example) combined in some way. Some artist references: (Matt Mullican, Jeff Koons, Sherrie Levine, Jean-Michel Basquiat, Andy Warhol, Ed Ruscha, Neil Jenney, Jasper Johns, Barbara Kruger, Mark Tansey) |
| 2. Painting from your own set-up |
| OR |
| Painting dealing with the Body (Kiki Smith, Francis Bacon, Starn Twins, Louise Bourgeois, Ana Mendiata, Jim Lutes, Frieda Kahlo, Robert Gober) |
| Critique: Wednesday, September 13 for both paintings |
| 3. Pure Painting where formal elements are more important than imagery (Donald Sultan, Ross Blechner,Terry Winters) |
| OR |
| Painting which incorporates elements not traditionally included in painting. (sound, three-dimensional space, movement, light etc.) (Jonathan Borofsky, Izhar Patkin) |
| 4. Painting on Something Other than Canvas incorporating non-paint elements. (Betye Saar, Joseph Cornell, Marisol, Julian Schnabe) |
| Or |
| Painting based on nature elements (April Gornik, Joan Nelson, Mark Innerst, Terry Winters) |
| Critique: Monday, October 16 for both paintings |
| 5. A Related Group of Three Paintings. (not a triptych) |
| Progress Critique: Critique: Monday, November 20 for all three paintings Final Critiques: Final Exam Week |
| References: |
| Philippe Comar Images of the Body Abrams/Discovery 1993 |
| Georges Jean Signs, Symbols and Ciphers Abrams/Discovery 1998 |
| Art Index and Periodicals |
| SKETCHBOOK: |
| I am requiring that you keep a sketchbook with ideas and notes on relevant artists this semester. You will need to research each project and write down your sense of the artists I give you to look at. Also sketch out your ideas for each painting. Also you must keep a log of hours you spend painting this semester. To make this easy to read keep it all on one page or contiguous pages. These will be due at critique and will be graded at that time. |
| GRADING PROCEDURE: |
| Attendance is ABSOLUTELY REQUIRED in my class. Although I expect that you will do a great amount of serious work outside of class, I want the chance to check in on you and see what you are doing and you benefit from hearing me talk to your classmates and from seeing what they are doing. Painting is very much a peer-learning process. I will have a sign up sheet for each class period where I need to see you. My policy is that after three absences I start to subtract from your final grade by 3 points a day. |
| Lectures and Gallery Events are required attendance unless there is a reasonable excuse made to me in advance |
| Participation in class critiques is very important for the same reasons as attendance. You learn from each other and you also need to learn to be articulate about your own and about others' work. Missing a critique counts as two absences (6 points)15% |
| Sketchbook: this will account for 15% of your final grade. |
| Portfolio: 70% |
| Course Evaluation: |
| Your final grade will be compiled on the basis of the above requirements (attendance, participation in critiques, sketchbook) as well as on your individual progress in the class, and your seriousness of purpose. Art is a field that requires a lot of hard work and discipline and if I do not see evidence of that kind of commitment; it will be reflected in your final grade. |
| It is important to finish paintings. They should always be ready for critique. This means you will have to work outside of class, that is an expectation for this class. |
| I encourage you to have a conference with me about your progress at MID-TERM of you have any questions about your grade. |
| Safety: |
| I would like to require that you never use power tools when you are alone in the studio. I also have some material on the hazards of art materials that I would like you to read. |
| ACADEMIC HONESTY POLICY: |
| Any instance of flagrant academic dishonesty, as determined by the instructor of this course in compliance with the university policy, will result in the student’s dismissal from the class and the assignment of a grade of “E” for the course. Flagrant should be understood to mean the “knowing” violation of any aspect of the University’s Policy on Academic Integrity. |
| PREREQUISITES: Art 333 |
| INSTRUCTIONAL ACTIVITIES one-on- one instruction, writing and sketchbook and critiques |
| RESOURCES: Library, slide library, University art collection |