This course explores innovative and emergent approaches to painting within the context of contemporary art practices. Emphasis is on nontraditional approaches to painting through an exploration of materials and techniques. Students learn to question assumptions about the practice of painting, creating works that allow them to explore the use of alternative approaches to paint media through the implementation of various tools and technologies. This is an integrated media course.
Student Learning Objectives:
- Select and apply appropriate visual elements and principles of composition to convey an idea effectively.
- Investigate and execute solutions to challenges and problems in media utilizing alternative tools, techniques and processes.
- Explore, select and employ alternative mediums and techniques best suited to the solution of individual artwork.
- Create artworks that communicate relationships between concept, media, techniques and processes.
- Explain and interpret aesthetic decisions of finished and in-progress work.
- Compare and contrast the characteristics of traditional approaches to painting materials and techniques to alternative approaches.
“Contemporary Painting in Context”(The Novo Nordisk Art History Project)
ed. Anne Ring Petersen, Mikkel Bogh, Hans Dam Christensen, Peter Norgaard Larsen.
*Other supplemental readings may be made available through class website or email/blackboard as appropriate.
-Lecture material will introduce each project topic.
-Studio space will straddle both painting studio and digital studio as necessary.
-Technical demonstrations will include both tangible and digital image making techniques.
-A variety of critiques, and in-progress critiques will be scheduled for every project
-Seminar sessions will be scheduled to explore artistic, historical and contemporary issues pertinent to student’s activity.
-Field trips to local exhibitions may replace one or more of class meetings.
Attendance | Attendance will not be taken, but be aware absences will result in missed curriculum and result in a hindrance for future work. If you intend to be absent from class due to a religious holiday you must inform me within the first two weeks of class — in writing. Any later request may result in a lack of flexibility for rescheduling. You are reminded that lateness is both rude and distracting. Please make every effort to be punctual. Excessive tardiness will prejudice your final grade. Attendance is always required on Studio Days. It is expected that you will be properly prepared to work during class time. You are required to work outside of class on assignments and projects. There will not be enough time during class times for you to complete your assignments. Projects are due at the beginning of class on critique days.
Critique attendance is mandatory. Failure to attend a critique will result in the lowering of final project grade by one full letter. Failure to attend the final critique result in a failing grade for the course. The University outlines a handful of excused absences, and the required documentation for consideration. Please consult the entire policy for full disclosure on the topic.
The University attendance policy can be found at the following link: www.msudenver.edu/asa/policies/attendance/
Due Dates | All assignments are due at the start of class on the day indicated on
the assignment sheet. If you are late so is your work. Work will not be accepted unless you arrive with it. Due dates coincide with critiques and your work will not be critiqued unless you are in attendance on the relevant day. Failure to complete an assignment on time will result negatively on the project grade. It is the student’s responsibility to complete each assignment in a timely manner. It is the student’s responsibility to resolve each assignment in accordance to the written instructions given. In addition, it is the student’s responsibility to confirm and/or clarify a point prior to resolving an assignment. Class time and/or office hours are appropriate times to do this. Incomplete work will not be given “suggestions” during critique. If the student requires additional explanation, this will be offered at the end of critique if time is available, or in office hours.
Open Studio | Studio time will be built into this class. This time is for you to work
under supervision in the studio. This is the best time to ask me specific questions
about your work, get feedback on your work in progress. It is expected that you
will have enough work to occupy the full class period. Otherwise, studio hours
outside of class will be available and posted on the door. It is also expected that
students put in adequate studio time outside of class. It will be necessary to
ensure a quality outcome in your work.
Correspondence | All communication will take place through University email accounts. The course website (http://www.paintingandnewcontexts.wordpress.com) will be the primary source for course documents, lecture materials, updates to schedule and topic inspiration. Please visit site frequently, and prior to each class meeting.
Materials | Students may work with any “painting” materials and beyond. Specific materials may be recommended on an individual basis. The effort of this course is to expand the definition of what can serve as a painting material.
• All solvents, and solvent-based mixtures must be labeled with
name/semester/class/contents, and stored in the appropriate yellow
•No solvents, mediums or paints of any kind are to be disposed of directly in
the sink. Store or dump excess paint, water is appropriate to rinse and clean acrylic paints, containers and brushes.
•Any item with oil paint on it, must be disposed of properly in the white bins
labeled ‘oil rags only’. This includes, disposable palettes and any rags not
•The tool storage cabinet is locked outside of class/studio hours. Be advised
and plan accordingly.
•The Saw is for student use in constructing of supports. It is to be used to cut
wood only. The operator of the saw is required to wear safety glasses while
the saw is operational. Please return the saw to its downward, locked
position and unplug when finished. You should only use the saw when
someone else is present. In the case of an emergency contact 911,
followed by campus police (303) 556-3271
•If you intend to be absent from class due to a religious holiday you must inform me within the first week of class, in writing. Any later request may result in a lack of flexibility for rescheduling.
•If you are requesting accommodations, then you must present documentation from the Access Center. You are reminded that Access Center Documentation is not retroactive and the accommodations only apply to the circumstances after they have been presented to the instructor.
Please reference: http://www.mscd.edu/access/
•I do not accept assignments that contain any work from other courses or any older work. Opinions on such work may be sought in office hours. If your intent is to re-interpret an idea from another class you must disclose this fact before making the work to verify that it is acceptable. Do not guess or assume my position regarding use of previously existing material. Lack of disclosure or other deceit will result in a failing grade for the assignment.
Critique | A major component of the course is the ongoing development of an ability to comment upon work made by oneself and one’s peers. It is beneficial to receive such comments as they can accelerate ideas and act as motivation for future work. Attendance of all class critiques is MANDATORY. Failure to attend critique on your day to show your work will adversely impact your final grade for that project. Being late to critique is disruptive, rude and hindering to the overall atmosphere. Failure to attend final class critique days will result in a failing course grade. It is important for everyone to be present and to start on time in order to adequately critique everyone’s work. Your participation in critique is important. It will be considered as a component of your project grade and your final grade.
Breakdown of Letter Grades
This course is comprised of a minimum of 4 finished paintings. Each painting will receive a letter grade based on the following criteria:
•Craftsmanship – the technique, style, and quality of work.
•Creativity – the use of original and imaginative ideas.
•Content – that which is referenced by the work.
•Composition – successful utilization of the elements/principles of design
•Completion/Complexity – level of investigation into resolving the assignment.
•Critique participation – level of involvement in both offering, and absorbing commentary on works presented in class.
*All categories contribute equally to the formulation of your grade.
A sketchbook will also be kept throughout the class. It will serve as a process-folio containing record, research, and experimentation. It will also serve as a portfolio for your studies (all finished paintings will require execution of studies). On occasion, sketchbooks will be surrendered to the instructor for further understanding of the students’ processes, as well as to check for completed assignments. Assignments will be graded on a complete/incomplete basis.
Overall sketchbook maintenance will result in one whole letter grade.
(ex. 9/10 = 90% = A). *A: 90 – 100, B: 79 – 89, C: 68 – 78, D: 57 – 67, F: 56 – down
The sketchbook will constitute a percentage of your final grade equivalent to one finished painting project. This is to encourage the practice of investigating ideas before taking them to canvas, and to instill a habit of research.
Every student will be required to formulate and archive a personalized stance on contemporary painting. This will be done through small writing assignments that will evolve and progress throughout the semester. Completion of ALL written assignments will constitute a letter grade equivalent to one finished painting, and the entire sketchbook.
Every item listed in the above categories will receive a letter grade (A-F).
Final semester grades will take into consideration all completed work, participation in critiques, sketchbooks, research, written output, class attendance, as well as level of improvement in all aspects of art making.
The resulting letter grades will be averaged together to determine final grade.
4(min.)finished paintings+sketchbook+writing = 6(min.) letter grades /avg. = final grade.
Disclaimer | Please note: This course may be discussing, reading or viewing
content of a diverse nature: gender, race, religion, sex, and politics are a few
possibilities. All of these categories are part of the arsenal we use for visual
communication and design. If at any time you do not agree with a viewpoint, or
the material presented, then it is your responsibility to challenge and present an
alternate viewpoint while that view is being presented. It is through this discourse
that parties can learn from one another and become better visual communicators and individuals.
Art History scholarship and Art Studio practice, along with art teaching and
learning, are complex endeavors. They involve the critical exploration of ideas,
theories, art-making practices, and art movements, and encompass such things
as the human body, sexuality, race, gender, ethnicity, politics, strong languages,
religions, and cultures. This course may cover one or more of the above
categories and each student will be required to be an active participant in all
course assignments, discussions, and tests. Given this information, it is the student’s
obligation to determine whether the course content and requirements conflict
with the student’s core beliefs. If a student determines that there is a conflict with
his or her core beliefs, one of the following actions must be taken prior to the last
day to drop a course without penalty: 1) drop the class; 2) meet with the
instructor to determine if an accommodation can be made. Faculty will
ascertain if an accommodation can be made; however, faculty are not required
to grant content accommodations.
If critiques, discussions, or lectures are not being conducted in a way that is
beneficial for you, please schedule a meeting, or email me so that we can
discuss and make constructive changes.