This syllabus represents our plans
and objectives. As we go through the semester, those plans may need to
change to enhance the class learning opportunity. Such changes,
communicated clearly, are not unusual and should be expected.
PAINTING
I (ART 207) Syllabus
Instructor Name: Raychael
Stine
Semester/Year: Fall 2017 Sec 002 CRN 43706
Class location: Art 245 Class Meeting
time(s): M + W 1 – 3:45
Office:246(office hours M + W 8:15am – 9:15am and by appointment)
Email: rstine@unm.edu
Phillip Guston, Painters Table 1973
Course Catalog Description: ARTS 207
Painting materials and
techniques, integrating basic drawing concepts with color theory and
composition. Emphasis on descriptive and perceptual skills through assigned
problems.
Prerequisite: 106 and 125
Detailed description of the course:
This studio course explores
and develops the activity and process of making paintings. We will learn basic
materials and techniques and work primarily from observation. We will also investigate
various ways of making “painted” images, in order to understand some of the
fundamental aspects of painting's rich history and its position within
contemporary art (and we will begin to learn what “contemporary art” is). You
will develop your own visual thinking abilities.
“Painting involves a process of translation. This means finding a
language and syntax for the images you want to see—the images you want to form,
to imagine, to experience, to adjust, accept, perhaps reject and then make
again, in another way. Painting requires
that one look critically at one’s own work and the work of others, both your
contemporaries, and the artists who have preceded us. The visual history of
painted images will be a part of the language you will use. Your familiarity
with that history will be expected to increase in breadth and depth”- Julia
Fish- Painter/artist/professor: introduction to painting Syllabus- University
of Illinois at Chicago, 2008.
Your environment, your life, your daily experiences – are a significant part of
context in which we work. You will be mining your own life when exploring the
content of your work. Looking at art directly in the area’s museums, like the
UNM museum, the Albuquerque museum, Folk art museum, New Mexico Museum (and
more); various galleries like Central features, 516, Levy, 208, CFA (and more),
and on campus in the grad studios and John Sommers and via Library, slide/
image presentations, in books, magazines, on blogs is expected and encouraged.
Some selected readings, class discussions and critiques of completed paintings
will supplement the required studio work and research.
Quotes to think about that offer
a “frame” this course:
“The longer you look at an object, the more abstract it
becomes, and, ironically, the more real.” Lucian
Freud
“A painting requires a little mystery, some
vagueness, some fantasy. When you always make your meaning perfectly plain you
end up boring people.” Edgar Degas
“Enormous enlargements of an object or a fragment give it a personality
it never had before, and in this way, it can become a vehicle of entirely new
lyric and plastic power.” Fernand Léger
“A painter can say all he wants to with fruit
or flowers or even clouds.”
“Bring a brioche, I want to
see you paint one: still life is the touchstone of painting.” Édouard Manet
“ I have long been
interested in building a form in the painting. It's hard to define the word
form, but I wanted to make a work that was multi-dimensional and that went back
and forth in space yet remained what it was: a small, concentrated area that
was essentially flat.. Now I tend to think of it only in physical terms, but
you could say that it alludes to a denser experience of life. You have to re-imagine
it in other terms, which is lead [graphite], paper, paint, and canvas...I like
to talk about it in terms of structuring because when I'm working, my instinct
is to try to build and to fill. To fill something until it is really full. ”
-
Vija
Celmins interviewed by Chuck Close in Vija Celmins, A.R.T. Press, Art
Resources Transfer, Inc., 1992
“The greater the
artist, the greater the doubt. Perfect confidence is granted to the less
talented as a consolation prize.” Robert Hughes
“Every good painter paints what he is.” Jackson Pollock
“When conventions are old, there's quite a
good reason, it's not arbitrary. So Picasso discovered that, as it were, and I'm sure that
for him that was probably almost as exciting as discovering Cubism,
rediscovering conventions of ordinary appearance, one-point perspective or
something. The purists think you're going backwards, but I know you'd go
forward. Future art that is based on
appearances won't look like the art that's gone before. Even revivals of a
period are not the same. The Renaissance is not the same as ancient
Greece; the Gothic revival is not the same as Gothic. It might look like that
at first, but you can tell it's not. The
way we see things is constantly changing. At the moment the way we see things
has been left a lot to the camera. That shouldn't necessarily be.”
- David Hockney 1981
"Inspiration is for amateurs. The rest of us just show
up and get to work." Chuck Close
“ Paint bears
physical record to the expressions of the human hand. It conforms to the trail of the brush being
driven by impulses of the Psyche. In no
other art medium is creation more permanently and intimately bound to the movements of the human
body. Nowhere is the human more
empowered to have a direct and immediate affect on the image of his world. We are all, at present, more divided, less
empowered, and certainly far less connected to the effects of our world than we
should be. It is for this reason that I
am deeply involved with the textures of a medium capable of universalizing so
much lost intimacy.”
-
Jonathan Lasker, from Telling the Tales of Painting, Stuttgart:
Edition Cantz,
1993
Teaching Philosophy:
Learning
the language of visual form is really an ongoing process of learning how to
see. A student has to unlearn what they think they know about art, themselves,
and the world around them, and approach seeing, feeling and being as if there
are no answers - only questions. This thoughtful questioning, and an open
approach to communication, experimentation and examination, is fundamental to
understanding and developing an artistic inquiry.
Blog:
everything you need to know about class happens here. Bookmark
it and visit daily.
BOOKS:
For your own reference I suggest that you get the book,
“Painting Today” Tony Godfrey, From Phaidon Press. (You can buy it used, online
at amazon for about 25 to 55 dollars). It is a contemporary art history book-
not a technical book, but it will be helpful in understanding what it means to
make a painting today, and who is doing it today in a fresh and important way.
When you pick up a brush, you are part of the conversation of the entire
history of painting.
You may wish to purchase The Oil Painting Book: Materials and Techniques for Today's Artist- by Bill Creevey,
as an additional technical source. (7 dollars used.)
What to expect:
You
will be painting in class, and you will also be working outside of class time.
There is at least 6 hours per week outside of class work. Your inside and outside of
class work hours will include:
-
Continuing
working on your 5 painting projects outside of class studio time
-
on
going prep work (to be discussed)
-
on
going research, looking up artists, museums and galleries and looking at books,
art magazines, blogs, websites and more.
-
Possible
short response papers to reading, your own work, and to specific artists and
artworks researched and visited
-
Active
participation in classroom environment and in critiques
Over the semester, the work you complete for this course should
demonstrate:
-
technical
and conceptual progress and development in given projects and exercises in the
studio;
-
progress
and investment in outside assignments; development of individual vision, and thoughtful
investment in your self and your work as a whole
-
independent
thinking and progress in speaking about your work and that of others in the
class, in individual and group discussions, critiques, and any written
assignments.
***Field trips to museum or
gallery exhibitions and collections, consideration of slide/image presentations
and assigned readings, and attendance at artist talks and lectures outside of
class time will provide further context for the work you will accomplish.****
Course Requirements:
stretch and build minimum of 2 canvases yourself, prepare
the surface/ground
P and D woodshop demo’s will be scheduled and once you are
certified you may use the shop and dedicated open hours.
prepare other surfaces/ grounds before building canvases (
cardboard/paper ) and later in the semester when requested
- Consider the specific
proportions and dimensions of your painting support or working surface in
relation to your goal – do not rely on purchased and prepared canvases.
keep a notebook / folder for
this course to collate your project assignments and notes. Use this folder to keep
track of drawings, magazine clippings, color swatches etc.
use a sketchbook to collect, record and brainstorm with drawings or
other preparatory work; allow this sketchbook to become an integral part of the
development of each assigned painting project.
Expect to work a minimum of 6 hours each week outside of the
studio on things that are not painting.( in addition to painting.) Use this
time to:
-
prepare
painting grounds / supports; use the shop to build stretchers.
-
purchase
supplies; do not request class time to purchase supplies.
-
gather
source material; complete preparatory notes /drawings for paintings, as needed.
complete additional work, as needed, for successful completion of each project
and outside assignments.
-
look
at art / exhibitions on your own time.
-
use
the library as a regular part of your study.
**It is possible to complete all requirements and
receive a C grade- below is a description of how you will be evaluated
A = outstanding
accomplishment, innovative thinking, strong participation,
full attendance, excellent
progress;
B = above
average accomplishment, solid participation, full attendance, good
progress;
C = accomplished
all assignments, average participation, full attendance,
little change or progress
D = lack
of completion / lack of accomplishment in assignments,
disinterested participation
F = really?
In terms of percentage, your final grade will be
measured this way:
45% active class participation, work ethic and
rigor of engagement in projects, discussion and critiques
45% successful completion and timely presentation
of all assigned projects
10% **THAT EXTRA SOMETHING! (meaning- care,
engagement, determination, flexibility, curiosity, openness, courage,
fearlessness) ** = 100%
more specifically, We have 4 primary
painting project units, and 6 other units.
Project 1, 2, 3, 4
extended weekly research 5
prep and color studies 6
midterm critique 7
final critique 8
These
units will be averaged to get your final grade in the course.
Expectations:
• active
participation is required for
studio time, group discussions and informal or scheduled critiques. If you
don’t participate, this will be reflected in your grade.
• plan
to arrive at least 10 minutes before
class, as we will begin on time.
• bring ALL materials and supplies EVERY DAY.
· Work the full class period. If you don’t-- and you are not prepared to
work in class, you will need to get your supplies during class time, and this
will count as an unexcused absence.
· You may be expected to type,
print, and hand in grammatically correct short synopsis and/or essays on
specific requested readings, outlining your understanding of the text. (the
dates for these readings and synopsis requests will be present on the syllabus
and/or you will be given at least 1 week in advance)
• complete
all assignments and projects (Drawing writing and reading) for the dates they are due; bring them to
class. Manage your time effectively.
***Late work is docked a
half letter grade for every day late. That is one full grade lower to start for
every week late (unless you have an approved excuse.)
• submit
works when requested; keep all of
your work, even if you think
that something is not successful! No
work can be thrown away.
Mid-term grades will be discussed in individual meetings most likely
the 8th or 9th week of the term.
Research:
plan to use the Library at minimum, one hour each week.
(The Main Library has significant holdings that will support
our work in this course. Under the
Library of Congress call numbering system, all books on the subject of drawing
or works on paper are listed with call numbers that begin with NC.
In addition, monographs on individual sculptors [NB] and painters [ND]
present drawings in relation to other work by that artist. Books that begin with call number N also may include graphic works by
country, by period or by artist. You can go directly to the stacks and scan the
shelves under these call numbers; there are also sections for oversize books
using the same call number reference system.)
****The internet is a
great resource but is not a substitute for regular use of the library. The
library is awesome!!****
Attendance policy:
UNM policy states that a professor may drop a
student from a class without warning if the expectations of the class are not
being met. I have done this.
You are required to come to
class on time, prepared. Attendance is mandatory. Maximum of 2 unexcused
absences before grade drops a letter per each additional absence. 5 unexcused absences is an automatic fail.
An excused absence comes with a note or some kind of documentation and
explanation preferably beforehand and must be approved. Two tardies equals 1
unexcused absence. As many as 6 approved
absences could lead to an automatic drop. Come to class.
Studio and space-use Policies:
NO SMOKING at any time in this or any building or directly outside of the
building.
NO FOOD in this studio (for health reasons, eating in the studio is
discouraged.)
PLEASE use gloves and handle your supplies intelligently.
Wear appropriate clothing.
Store your supplies intelligently.
Gamsol in metal glass containers are ok for studio use---No
Turpentine or paint thinner—it is too hazardous.
No thinners, oils, or any paint can go down the sink
Remember: Paints, acrylic and oil, and their respective accouterments
ARE POISON.
NO CELL PHONE USE during class. I will let you know when and if you
can turn on your personal music, and you can use your phone during your break
clean your work area THOROUGHLY before leaving class
return your work to storage;
relocate easels and studio furniture.
Remove your supplies and store them in your locker. Whatever
does not fit it your locker you will need to carry away with you. leave the studio NICER
than you found it!!** The painting/drawing rooms can get
very dirty, very quickly, and there are many students who need to use them.
no work can be left on studio walls: you must work on a moveable support /
surface. Sorry, no extended installations or painting directly on the wall.
No spray paint in the studio or anywhere
maintain clean wall surfaces & respect the facilities •
be alert to your personal security at all times
at the end of semester, all work must be removed from the
studios & lockers cleared.
communicate by e-mail:
If you miss a class for any
reason, need clarification about an assignment, or would like to make an
appointment to discuss any issue of concern that is more involved, notify me by
email!
Expect email updates of
changes in the schedule & follow up on projects. When you get them, update
your current syllabus and handouts by altering them or printing new copies.
Always keep up with the online classroom.
Academic
Integrity:
Students at UNM enjoy significant freedom of artistic
expression and are encouraged to stretch their scholarly and artistic
boundaries. However, the school prohibits all forms of academic dishonesty. For
present purposes “ academic dishonesty” understood as the appropriation and
representation of another’s work as one’s own, whether such appropriation
includes all or part of the other’s work or whether it comprises all or part of
what is represented as one’s own work (plagiarism). Appropriate citation avoids
this sort of dishonesty. In addition, “ academic dishonesty” includes cheating
in any form, the falsification of academic documents or the falsification of
works or references for use in class or other academic circumstances. When such
dishonesty is discovered, the consequences to the student can be severe.
ADA
Compliance:
In accordance with University Policy 2310 and the Americans
with Disabilities Act, academic accommodations may be made for any student who
notifies their instructor of the need for assistance. It is important that the
student bring any such issues to the
attention of the instructor, as they are not legally
permitted to inquire. If a student requires assistance in an emergency
situation, they should inform the instructor as to the
most appropriate procedures to follow. Contact the
Accessibility Resource Center for additional information (277-3506).
In an effort
to meet obligations under Title IX, UNM faculty, Teaching Assistants, and
Graduate Assistants are considered “responsible employees” by the Department of
Education (see pg 15 - http://www2.ed.gov/about/offices/list/ocr/docs/qa-201404-title-ix.pdf).
This designation requires that any report of gender discrimination
which includes sexual harassment, sexual misconduct and sexual violence made to
a faculty member, TA, or GA must be reported to the Title IX Coordinator at the
Office of Equal Opportunity (oeo.unm.edu). For more information on the campus
policy regarding sexual misconduct, see:https://policy.unm.edu/university-policies/2000/2740.html
Materials:
There is a kit for this
course you can purchase at the bookstore:
Stine Art 207 Studio Kit Sec 002
The kit is slightly
different than the kit for the other P1 course (Zimmer) so please make sure you
get the right one. The cost of the kit is substantially reduced in price
compared to purchasing the items individually.
In addition to the kit you will need:
First paints/supplies we will use:
-
Latex
House paint, (Walmart, Home Depot or Lowes). A quart of White and a quart of
black. Choose satin, eggshell, or semigloss.
3-5 Various pieces of cardboard
from old boxes or other
sources, at least 24 by 36 inches in
measurement (this is slightly variable as long as it is not smaller) Get these
from anywhere. Grocery store, trash—it is ok and interesting if they have folds
or holes or are not totally square.
General studio use items
-
a
supply of cotton rags; also your own paper towels
-
bar
ivory soap or similar to clean brushes
-
gloves
-
a variety of sizes of glass jars with lids for
solvents /oil media; plastic containers for acrylics and latex. Ziplocks work.
drawing supplies:
-
Sketchbook,
notebook and a portfolio to carry loose paper for drawing; single sheets of good quality paper, drawing
tools of your choice
Mixing Medium:
-
use a suitable medium for
your paints:
Recipe=
1/3 linseed oil +
1/3 damar varnish + 1/3 odorless mineral spirits (Gamsol is recommended)you
may experiment with these proportions
-
and/or
purchase Gamblin Galkyd Medium
Acrylic painting:
We will be painting primarily with oil in this class. You are welcome to move on
to acrylic paints later in the semester (for finals) but the majority of our
work will happen in oil. If you choose to use acrylics later:
- you
may want to experiment with commercially available painting mediums;
- a
spray water-atomizer ( spray-mist bottle ) is recommended to keep your
palette and painting wet while working.
- In
addition to the required palette, you should have a supply of small disposable
paper cups to mix larger amounts of paint & keep them liquid.
The
P and D woodshop will supply you with items to build at least 2 painting
supports. The items below are provided:
- To build
a stretcher ( demonstration will be scheduled- supplies provided )
- 2
1x2 8 foot lengths of wood
- 2
quarter round 8 foot lengths of wood
- 3
yards of unbleached unwashed cotton duck canvas ( provided )
- staple-gun
and staples (provided)
- canvas
pliers (optional)
- Sand
paper (provided)
- Gesso
(provided)
These
supplies will get you started and will make at least 2 smaller to medium sized
canvases. You will need to provide your own supplies for project 1 and the
final project.
miscellaneous:
- hammer
and nails ( or alternate, if needed ) to hang your work for critiques
- measuring
tape - (is optional but strongly
recommended ! ALSO A LEVEL)
Artisan
Albuquerque / Santa-fe
UNM
Bookstore
Online:
www.misterart.com
www.dickblick.com
www.Joann.com
www.jerrysartarama.com
www.UtrechtArt.com
www.pearlpaint.com
|
Other sources:
Home Depot
Lowes
Fabric store
Goodwill
Thrift Town
Habitat for Humanity
And **any other thrift store Garage sales Flea
markets Camera supply shops
|
PAINTING
I (ART 207) Weekly schedule
Instructor Name: Raychael
Stine
Semester/Year: Fall 2017
Class location: Art 245 Class Meeting
time(s):
Office:246(office hours M+W 8:15 – 9:15 am and by appointment)
Email: rstine@unm.edu
Weekly Schedule Fall 2017
(dates are subject to change, when necessary, and will flex along with the way
the class unfurls- you will be notified of all changes)
Week 1
August 21 Introductions/
August 23 thumbnails,
form, sketching value, and first Materials demos
Week 2
August 28 All supplies Due-
Begin unit 1 part 1 on white
August 30 Unit 1 part 1 on
white
Week 3
September 4 Labor Day no class
September 6 Unit 1 Part 2
on black
Week 4
September 11 Unit 1 part 2 and intro to Part 3
abstract/forms/limits
September 13 Unit 1 Part 3
abstract/forms/limits
Week 5
September 18 Critiques /
intro to project 2
September 20 project 2
slides: still life
intro and Demos- color/
color studies
Week 6
September 25 canvas prep
and build
September 27 color
studies/ sketches and begin project 2
Week 7
October 2 project 2
October 4 project 2
Week 8
October 9 project 2
October 11 project 2 –
complete surface for project 3 by Monday
fall break week
Week 9
October 16 begin Project 3
October 18 project 3
Week 10
October 23 project 3
October 25 project 3-
complete 2 and 3 by October 30th
Week 11
October 30 critiques day 1
November 1 critiques day
2- intro to final
Week 12
November 6 Final
November 8 final
Week 13
November 11 Final
November 13 Final
Week 14
November 20 Final
November 22 Final
Thanksgiving week
Week 15
November 27 Final
November 29 Final
Week 16
December 4 FINAL CRITIQUES
DAY 1
December 6 LAST DAY OF
CLASS-- FINAL CRITIQUES DAY 2
Week 17
Finals week no classes
Clear out lockers, office
hours to be decided
