Week 4
February 3
Vanitas Paintings Due
Copy Project: Check Images
Perception Part III: Observed
*9 x 12” canvas (approx).
Assign Color exercise
* 20 x 30” unstretched gessoed canvas
HW: Color Chart
HW: Perception Part III
February 6
Discuss and Present 5 Favorite Paintings
Perception Part III: Observed
Color Exercise
HW: Color Exercise
Week 5
February 10
Color Exercises Due
Introduce Replication Project
Consider: historical traditions, color & brushwork styles, individual choices
Look at: Glen Brown, David Ording, Cecilia Edefalk
*Two 16 x 20” canvas (approx).
February 13 Replication Project
HW: Replication Project
Week 6
February 17 Replication Project
Introduce “Painting” without Paint
Consider: essence of “Painting”, alternative methods and materials
Look at: Rudolf Stingel, Gum Blondes, Polly Apfelbaum
February 20 Replication Project
Demo Supports, Part 2
Rabbit skin glue, PVA on canvas, true gesso on panel
Check ideas for “Painting” without paint
HW: Painting without paint
Week 7
February 24 Painting without paint
February 27 Painting without paint
Tuesday, January 27, 2009
Friday, January 16, 2009
Perception
One of the most fundamental aspects of painting is deciding how to create an image. To do this we must consider how we can translate a sense of an object/image into a visual manifestation. We can use any number of sources to do this: pure imagination, photo-sources, sketches, observation, and any combination thereof. We also have to consider that others will view this image and they will need to interpret it in some fashion. Those familiar with semiology will know this process of representation as it relates to language- and we can consider visual art a part of this process as well.
For this project, we will be testing several ways of using sources to create representations. We will do this by creating three paintings of a single object in different ways. By creating several representations of the same object, we will have a basis for comparing these methods and evaluating their advantages and disadvantages for you as an artist. First, the painting will be based on a written description- thereby testing our ability to transform language into visuals and using our sense of imaginative construction. Second, we will be provided a photograph- which will provide be a limited sense of the object already translated into 2 dimensions through the filter of the camera. Finally, we will use in-vivo observation to test our physical perceptions. After each painting, we will record reactions to this process.
Consider
How do we choose how to represent something visually?
How can different sources affect our representations?
What are the advantages/disadvantages of each method of representation?
How do these methods compare and how can you as an artist create representations for future works?
Materials
Objects, three 9 x 12 inch canvases, & other painting materials.
Part 1: Imagination
-Select an object that you feel is visually stimulating. It can be beautiful or ugly, complex or simple. The object can be any size- but should be something that can be brought to class (eventually). Write a description of this object as you would paint it. Include as many specifics as possible- including references to size, shape, color, texture, lighting, angles of viewing, etc. You might consider how it might be described in an art history paper, a scientific analysis, or a poetic interpretation. Approx. 250 words. Due Friday, Jan. 23
-Each student will pass his/her description to a partner, so no late submissions will be tolerated. Once you receive your partner’s description, it’s your task to create a painting based on this. You may interpret the description as you see fit.
Part II: Photo source
-Create a photographic representation of your object. You should use digital camera and consider the setting, composition, focus, lighting, color, etc. You may alter the image using Photoshop, etc. if you feel it will better describe the object. Photographs should be printed on photo paper (to be provided), at least 8 x 10 inches with good clarity and color. Pass this photograph to your partner.
Due Tuesday, Jan. 27
-Once you receive your partner’s photograph, create a new painting based on it. Notice the ways that the photograph has treated color, shape, perspective, etc. Do not reference the Imagination painting.
Part III: Observed
-Each student will pass their object to their partner for the final phase of this project. Due Tuesday, Feb. 3
-Once you receive the object from your partner, do a painting based on observation of it. You may create a setting for the object- and it will be important to think about lighting as well. Notice the ways that you see color, texture, perspective with your eyes. Do not reference the Photo-based painting once you have begun.
Analysis
We will do a brief written analysis after each of the phases of this project. These analyses will help us to interpret what we notice about painting in the different methods.
Look at
Rene Magritte
Magritte used his paintings to imbue ordinary objects with new and extraordinary significance. His famous work, “The Treachery of Images”, reminds us that ‘Ceci n’est pas une pipe’ / ‘this is not a pipe’- i.e. he is creating a representation of something, while at the same time asking us to believe that it is that thing. We still struggle with this question concerning representation. His descriptions of objects seem neutral- as if they are the imagined sense of these objects, not created from observation with the resultant color sensitivity and physical irregularities.
Gerhard Richter
One of the preeminent figures in the art world, this German painter has pioneered new territory in painting through his use of photography as source. His paintings often involve scraping or blurring the image to shift or distort it. He describes these paintings as similar to photography in that they provide a model for a reality- not a representation.
Michael Byron
Byron’s series of grisaille paintings are based on black and white photographs of famous art objects. Droplets and other signs of deterioration overlay these images and further separate us from the objects (or their representations).
NY Times Article
Ben Weiner
This American artist creates dramatic close-up views of ordinary objects. Pieces of ice, tin foil, or pearls get transformed into large dramatic paintings through his use of color and strong value that also depend on photo-based work and artists like Marilyn Minter.
Albrect Durer
Durer is one of the canonical painters- known for his intense interest in naturalism and observation. In his nature studies, we can see him scrutinize each hair follicle or fleck of earth in an effort to create an intensely faithful image of reality.
Wikipedia article
For this project, we will be testing several ways of using sources to create representations. We will do this by creating three paintings of a single object in different ways. By creating several representations of the same object, we will have a basis for comparing these methods and evaluating their advantages and disadvantages for you as an artist. First, the painting will be based on a written description- thereby testing our ability to transform language into visuals and using our sense of imaginative construction. Second, we will be provided a photograph- which will provide be a limited sense of the object already translated into 2 dimensions through the filter of the camera. Finally, we will use in-vivo observation to test our physical perceptions. After each painting, we will record reactions to this process.
Consider
How do we choose how to represent something visually?
How can different sources affect our representations?
What are the advantages/disadvantages of each method of representation?
How do these methods compare and how can you as an artist create representations for future works?
Materials
Objects, three 9 x 12 inch canvases, & other painting materials.
Part 1: Imagination
-Select an object that you feel is visually stimulating. It can be beautiful or ugly, complex or simple. The object can be any size- but should be something that can be brought to class (eventually). Write a description of this object as you would paint it. Include as many specifics as possible- including references to size, shape, color, texture, lighting, angles of viewing, etc. You might consider how it might be described in an art history paper, a scientific analysis, or a poetic interpretation. Approx. 250 words. Due Friday, Jan. 23
-Each student will pass his/her description to a partner, so no late submissions will be tolerated. Once you receive your partner’s description, it’s your task to create a painting based on this. You may interpret the description as you see fit.
Part II: Photo source
-Create a photographic representation of your object. You should use digital camera and consider the setting, composition, focus, lighting, color, etc. You may alter the image using Photoshop, etc. if you feel it will better describe the object. Photographs should be printed on photo paper (to be provided), at least 8 x 10 inches with good clarity and color. Pass this photograph to your partner.
Due Tuesday, Jan. 27
-Once you receive your partner’s photograph, create a new painting based on it. Notice the ways that the photograph has treated color, shape, perspective, etc. Do not reference the Imagination painting.
Part III: Observed
-Each student will pass their object to their partner for the final phase of this project. Due Tuesday, Feb. 3
-Once you receive the object from your partner, do a painting based on observation of it. You may create a setting for the object- and it will be important to think about lighting as well. Notice the ways that you see color, texture, perspective with your eyes. Do not reference the Photo-based painting once you have begun.
Analysis
We will do a brief written analysis after each of the phases of this project. These analyses will help us to interpret what we notice about painting in the different methods.
Look at
Rene Magritte
Magritte used his paintings to imbue ordinary objects with new and extraordinary significance. His famous work, “The Treachery of Images”, reminds us that ‘Ceci n’est pas une pipe’ / ‘this is not a pipe’- i.e. he is creating a representation of something, while at the same time asking us to believe that it is that thing. We still struggle with this question concerning representation. His descriptions of objects seem neutral- as if they are the imagined sense of these objects, not created from observation with the resultant color sensitivity and physical irregularities.
Gerhard Richter
One of the preeminent figures in the art world, this German painter has pioneered new territory in painting through his use of photography as source. His paintings often involve scraping or blurring the image to shift or distort it. He describes these paintings as similar to photography in that they provide a model for a reality- not a representation.
Michael Byron
Byron’s series of grisaille paintings are based on black and white photographs of famous art objects. Droplets and other signs of deterioration overlay these images and further separate us from the objects (or their representations).
NY Times Article
Ben Weiner
This American artist creates dramatic close-up views of ordinary objects. Pieces of ice, tin foil, or pearls get transformed into large dramatic paintings through his use of color and strong value that also depend on photo-based work and artists like Marilyn Minter.
Albrect Durer
Durer is one of the canonical painters- known for his intense interest in naturalism and observation. In his nature studies, we can see him scrutinize each hair follicle or fleck of earth in an effort to create an intensely faithful image of reality.
Wikipedia article
Thursday, January 15, 2009
Vanitas
Our first project will be an observational painting based on the traditional format of Vanitas. Vanitas refers to the "vanity" of all worldly things, such as riches, beauty, pastimes, learning, and even the arts. During the 16th and 17th century, it became a popular painting theme to create an elaborate still life that represented the brevity of life and the inevitable death. Artists included objects that were symbolic of the pleasures of the flesh and the futility of human achievement. Common items were skulls, candles, mirrors, and fruit.
Think about what objects you would include in a contemporary vanitas painting. What objects now represent fleeting tastes, desires, and pleasures? Bring items to class and create your own still life. This set-up should be a collection of carefully considered items arranged in a thoughtful manner.
Consider
How can we arrange a series of objects to create a balanced and engaging composition?
What kinds of objects do we have today that denote the pleasures of the flesh?
How are they similar to and different from the objects selected during the 17th century?
What kinds of meaning do they create as an assortment?
Materials
Vanitas still life materials, 16 x 20" or 20 x 20" canvas, palette, brushes, turpenoid or water, all oil paints, rag, gloves, glass jars w/lids for thinner.
Look at
Dutch Still Life
Dutch artists used this motif to create a symbolic painting, but also to display their skills as artists. A still life generally juxtaposes different textures, shapes, and colors to show one object's qualities in relation to others. Look at the specificity in the objects.
Jana Sterbak
This Canadian artist exhibited a dress made out of slabs of meat entitled “Vanitas: Flesh Dress of an Albino Anorexic”. She created this work to contrast the vanity and body decay. Many artists today continue to work with materials that change over time- and that change is embedded in the meaning of the work.
Sam Taylor-Wood
This artist uses video to document decomposition- as a time-based vanitas work. The pieces of ripe, luscious fruit- normally a still-life trope- slowly rot and transform into a disgusting pile of mold. Her other work photographs and films deal with a kind of separation between appearance and reality.
Audrey Flack
This artist became one of the founding Photorealist painters when she created paintings that juxtaposed a variety of kitsch items to create contemporary still life. Instead of ancient tomes, candlesticks, and skulls, we see picture of Marilyn Monroe, glossy lipstick, and red velvet.
Think about what objects you would include in a contemporary vanitas painting. What objects now represent fleeting tastes, desires, and pleasures? Bring items to class and create your own still life. This set-up should be a collection of carefully considered items arranged in a thoughtful manner.
Consider
How can we arrange a series of objects to create a balanced and engaging composition?
What kinds of objects do we have today that denote the pleasures of the flesh?
How are they similar to and different from the objects selected during the 17th century?
What kinds of meaning do they create as an assortment?
Materials
Vanitas still life materials, 16 x 20" or 20 x 20" canvas, palette, brushes, turpenoid or water, all oil paints, rag, gloves, glass jars w/lids for thinner.
Look at
Dutch Still Life
Dutch artists used this motif to create a symbolic painting, but also to display their skills as artists. A still life generally juxtaposes different textures, shapes, and colors to show one object's qualities in relation to others. Look at the specificity in the objects.
Jana Sterbak
This Canadian artist exhibited a dress made out of slabs of meat entitled “Vanitas: Flesh Dress of an Albino Anorexic”. She created this work to contrast the vanity and body decay. Many artists today continue to work with materials that change over time- and that change is embedded in the meaning of the work.
Sam Taylor-Wood
This artist uses video to document decomposition- as a time-based vanitas work. The pieces of ripe, luscious fruit- normally a still-life trope- slowly rot and transform into a disgusting pile of mold. Her other work photographs and films deal with a kind of separation between appearance and reality.
Audrey Flack
This artist became one of the founding Photorealist painters when she created paintings that juxtaposed a variety of kitsch items to create contemporary still life. Instead of ancient tomes, candlesticks, and skulls, we see picture of Marilyn Monroe, glossy lipstick, and red velvet.
January Calendar
Week 1
January 13 Introduction
Course objectives
Student survey
HW: Vanitas materials
January 16 Introduce Vanitas Project
Consider: shape, tone, color as well as arrangement, meanings
Look at: Dutch still life, Audrey Flack, Sam Taylor Wood
*16 x 20” canvas
HW: Vanitas, layer 2
HW: Perception Project: Written Description (to provide)
Week 2
January 20 Vanitas Project, layer 3
Demo: Supports, Part 1
acrylic gesso on canvas, masonite, & paper
HW: Gesso canvas, masonite, paper for Perception Project (3 pieces ~9 x 12”)
HW: Vanitas, layer 4
January 23 Still Life Vanitas
Introduce Perception Project
Consider: use of imagination, photo sources, and observation
Look at: Byzantine icons, Gerhard Richter, Ralph Goings, Rackstraw Downes, Durer
HW: Perception Project: Part 1: Imagination
*9 x 12” canvas (approx).
HW: Perception Project: Photograph (to provide)
Week 3
January 27 Perception Project: Part II: Photo source
*9 x 12” canvas (approx).
HW: Perception Project: Part II: Photo source
HW: 5 Favorite Paintings
HW: Copy Project: Image Sources from Goddard
January 30 Trip to Boston
“Figuratively Seeing” MassArt Gallery
Boston MFA
January 13 Introduction
Course objectives
Student survey
HW: Vanitas materials
January 16 Introduce Vanitas Project
Consider: shape, tone, color as well as arrangement, meanings
Look at: Dutch still life, Audrey Flack, Sam Taylor Wood
*16 x 20” canvas
HW: Vanitas, layer 2
HW: Perception Project: Written Description (to provide)
Week 2
January 20 Vanitas Project, layer 3
Demo: Supports, Part 1
acrylic gesso on canvas, masonite, & paper
HW: Gesso canvas, masonite, paper for Perception Project (3 pieces ~9 x 12”)
HW: Vanitas, layer 4
January 23 Still Life Vanitas
Introduce Perception Project
Consider: use of imagination, photo sources, and observation
Look at: Byzantine icons, Gerhard Richter, Ralph Goings, Rackstraw Downes, Durer
HW: Perception Project: Part 1: Imagination
*9 x 12” canvas (approx).
HW: Perception Project: Photograph (to provide)
Week 3
January 27 Perception Project: Part II: Photo source
*9 x 12” canvas (approx).
HW: Perception Project: Part II: Photo source
HW: 5 Favorite Paintings
HW: Copy Project: Image Sources from Goddard
January 30 Trip to Boston
“Figuratively Seeing” MassArt Gallery
Boston MFA
Tuesday, January 13, 2009
Prelude
Here's a selection of the themes and projects that we will be working on during the semester.
*****
Vanitas - Herman Henstenburgh (Dutch 1667-1726)
Perception - Gerhard Richter, Rackstraw Downes
Replication - Glenn Brown
"Painting" without paint- Rudolf Stingel, Polly Apfelbaum
Trips! To MassArt, RISD
*****
Vanitas - Herman Henstenburgh (Dutch 1667-1726)
Perception - Gerhard Richter, Rackstraw Downes
Replication - Glenn Brown
"Painting" without paint- Rudolf Stingel, Polly Apfelbaum
Trips! To MassArt, RISD
Thursday, January 8, 2009
Welcome
Welcome to Painting II. I look forward to working with all of you this semester on a number of interesting projects. I'll be using this blog frequently- so check back often.
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