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Martin Kippenberger, Self-portrait, 1988

Martin Kippenberger, Self-portrait, 1988

Course Description:

Paintings evolution of representation and imitation upon the 21st century has had a richly coded history that has directed and impacted artistic language and practice, shaping and informing our cultural identity.  Developing technologies has had a lasting impact upon painting.  Since the invention of photography in 1839 painting has had a deep, and at times, opposing connection to technology & media; leading to questions of authenticity, autonomy and its own relevance.  This Studio topic will examine these connections and paintings response to technology and mediated culture. Through a series of studio assignments augmented with lectures and discussions, students will broaden their approaches to studio practice in tandem with their knowledge of some exemplary developments in the evolution contemporary painting.

In this course studies will be used for exploration, and experimentation with each project assignment.  Studies will be used as part of the evaluation process, and used to inform and demonstrate students’ exploration of systems of representation and abstraction, procedural and conceptual strategies leading into their final paintings.

Readings and group discussions will accompany each topic unit. Individual and group critique discussions will be a regular feature of this course, that being said active participation is significant for individual growth as well as developing a productive and engaging studio environment, benefiting all.

Course Learning Objectives:

In this course students will:

  • Expand critical and creative thinking through painting projects that investigate a number of visual, procedural and conceptual strategies. These include: responding, translating, communicating, combining, and overlapping memory with digital imagery with visual languages in painting; non-representation / abstraction, and systems of representation.
  • Demonstrate an understanding of the universal relationship between modes of observation, output and translation, between abstract languages and real-world images.
  • Expand knowledge of digital processes and methods through introduction and demonstration of digital software.
  • Demonstrate improved communication skills, through creating thought-provoking and insightful reading discussion responses to course readings.
  • Refine critical thinking and demonstrate strategies to discuss and carefully critique students and colleagues’ artwork.
  • Through readings, topic lectures, studio projects, and critique discussions students will develop a professional understanding of painting’s response to mediated digital culture.

Course Requirements:

  •  Due to a condensed seven week semester, each student is expected to spend a minimum of six hours per credit on homework, thus students are expected to devote a minimum of twenty hours outside of class time to develop their work. Your in-class studio time is important to use wisely, being prepared and productive will result in your success in the course.
  •  Projects are to be submitted by their scheduled due dates, a 10% penalty per class will be added for all late assignments. However, I do encourage that students re-work paintings throughout the term. I will expect all projects for this course finished by the end of term. Extensions will not be granted without reasonable notification. Any project(s) not completed or handed in will result in a zero.
  •  You are expected to arrive on time and prepared to work in class, with materials ready to go. Your painting station set up, canvases stretched, primed and dry before class starts.
  •  Read your course readings thoroughly, multiple times and take accurate and detailed notes for discussions.
  •  Participation includes the following: arriving on time, listening to lectures and instruction, being prepared and working in class time, sharing ideas, concepts and creative exploration and conceptual development with other students and cooperating in group critiques, analyzing and offering opinions about work in progress and listening to and being an active participant in critique and group discussions.
  •  Go to galleries, nothing compares to seeing art work in real life. Be an active participant in your art community, going to artist talks and openings, get engaged with other works, spend time researching artist books in the library, read art magazines (Border Crossings, Canadian Art or Artforum), watch documentaries, and ultimately get inspired!

 

 

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