Monday, January 31, 2011

for Tuesday February 1:

We will meet at Garfield Park Conservatory at 9:30, armed with transportable materials for drawing. Meet in the front lobby.
While there will likely be snow on the ground, the blizzard is not supposed to begin till evening tomorrow, so our trip is still on.
There is a parking lot if driving, and the Green line "Conservatory/Central P{ark Drive" stop on the West Side goes right there, almost to the door.
Click here for link to directions:

Tuesday, January 18, 2011

weekend assignment: drawing

Please do four-five drawings in your Bristol pad, spending at least 1/2 hour
on each one . These drawings may be of a space, or an object(s) that has/have cubic, linear, or architectural components. Basically, I would like you to draw with perspective. We will do this by looking rather than following 1, 2, or 3 point perspective methods.
Use any dry B&W media, and whatever application you want. Fill the page: these are drawings, not sketches.

Monday, January 17, 2011

Assignment 1

Project one is a modified version of this Bauhaus color assignment from the 1920's (above).
Working on three separate pages, make three charts like those directly above. Each has a gamut of complements in the middle, with white added on the left column (tinting), and black added on the right (shading). Each color increment should be 1"; therefore each chart will be 3x7". we will do these on paper that i will supply. This will get you accustomed to or re-accustomed to basic paint application, at the same time as studying desaturation. This will be due beginning of class next Tuesday, January 25th.

Tuesday, January 11, 2011

welcome to AD230/Spring 2011

Painting I / AD 230
Spring 2011
Tuesday/Thursday 9:00-11:40

University of Illinois at Chicago
School of Art and Design
Professor Pamela Fraser
Office Hours: by appointment

Course Description: Painting I is an introduction to the discipline of painting, and will primarily utilize an observational approach to painting, with opportunities to work with both acrylic and oil paint. Students will explore material, and formal aspects of constructing paintings, learning to apply drawing, composition, color principles to the realm of painting. This is primarily a technical course that will introduce painting histories and methodologies, and include a basic inquiry into contemporary art and the possible meanings, values, and functions of painting.

Course Requirements: The course is broken up into short project periods that will increase in length as the term progresses. The term will be roughly broken up into thirds in terms of material use: the first third using acrylic paint, the next third using oils, and the last third, students may use their choice of paint.

Class time will be used for work time, as well as for lectures, discussions, and demos. Students will be expected to work a minimum of four hours a week outside of class time. This time is to be used procuring materials, researching art, artists and/or materials, drawing, and working on painting assignments. Development in the course will be based on consistent practice and discipline.

On Grading: Success in the course is assessed by student's technical and conceptual development, the level of focus and engagement in subjects of study, assignments, homework, critique, and discussion.

The breakdown of the assessment is quite simple:

Technical Development 50%
Level of Participation and Engagement 50%

Late work is not accepted and will receive a failing project grade.

On Attendance: Good attendance is presumed and not reward in the final grade calculation. Poor attendance will affect the grade adversely in accordance with UIC policy. After two unexcused absences, one's grade will drop one letter from the level that has been earned. Arriving late, or unprepared, or leaving class early is also unacceptable and will result in a lowered grade if routine behavior. Three times late, leaving early or being unprepared will equal one absence. After four unexcused absences, one may fail the course.

Absence from class is not an excuse for not handing in a due assignment, nor for not hearing about a new assignment. If you miss class, check the blog, and/or e-mail me to find out what you missed.

Field trips and critiques are MANDATORY. Missing one of these class sessions equals two unexcused absences.

Materials: The materials on the material list have been considered and chosen with great care and specificity. Any substitutions you would like to make must meet my approval.

I will supply canvas, gesso, gesso brushes, palette knives, a small amount of acrylic and oil paints, and small amount of solvents and mediums for oil paint. These supplies made with your lab fees may not last the entire semester, but will get us well into the term.

Students will be required to purchase the supplies listed below:

• Wood or stretcher bars to be used after week 5

• Oil /acrylic brushes: I recommend Loews-Cornell Oil/Acrylic Brush Wrap, set of 18 flat and round brushes that are good for both media ($15.99). I would augment this with a ½” Filbert, a ½” bright, and a #0 Round.
• 4 14” x 18” pre-stretched canvas
• small jar matte medium (2.5-5 oz.)
• tube or small jar acrylic painting retarder
• 2 large glass jars (pickle size is good)
• bathroom cups, or plastic or paper palettes for acrylic painting
• glass or plastic palette made for use with oil paint
• cotton rags
• medium size 20 sheet Bristol pad or other study smooth paper for drawing
• artists/designers toolbox supplies: ruler, pencils, mechanical pencils, erasers, artists tape, paper towels/rags, soap, nails for hanging work during critique, staples that fit shop staple guns

Students are not to use class time to go shopping for supplies.

We will be building our own stretcher during week three. After this, you may decide to build your own for the assignments to be completed on canvas. If you do not wish to build, you may purchase individual stretcher strips and stretch canvas on it after assembling. After week six, no more use of pre-stretched canvas in the class. These stretchers must be prepared before the beginning of a class when they will be used. No stretching, sanding, or priming in class except during the week when we are learning about it.

Information on paints -for later- when/if you will purchase your own:

Basic palette:

• titanium White (150 ml)
37 ml of the following other tubes:
• ultramarine blue
• cerulean or manganese blue
• cadmium red medium or pyrole red
• cadmium orange
• cadmium yellow light or hansa yellow
• permanent or cadmium green
• yellow ochre
• burnt sienna
• burnt umber
• ivory black

additional and highly suggested:

• turquoise
• quinacridone magenta
• permanent or dioxanine violet

Schedule / Week One:

1/11 Introduction to course and materials.
Homework: Procure materials from list for September 1 class (next Tuesday)

1/13 Meet at The Art Institute of Chicago (see separate post for details)

Friday, January 7, 2011

Richard Hawkins/Art Institute Trip Thursday @ 10:00

Richard Hawkins. Dragonfly 2, 2009

focus: Richard Hawkins—Third Mind
October 22, 2010–January 17, 2011
Galleries 182–184, Ryerson Library

Overview: Since the early 1990’s, Richard Hawkins has developed an emphatically diverse art practice that resists easy classification. Offering alternate histories through the juxtaposition of decidedly unlike elements—whether ancient Greek and Roman sculpture, 19th-century French Decadent literature, post-structuralist theory, 1980s teen hearthhrobs, Native assimilation in the American Southeast, or the intricacies of Thai sex tourism—the work is, at its core, about the pleasure of intense looking. Hawkins is an equal opportunity voyeur, but it is the male figure—often young, beautiful, and exotic—that is the subject and inspiration in his work. Bolstered by alternative historical precedents or influences and infused each time with new ways of seeing, he takes his subject well beyond personal indulgence into the realm of a deeply engaged rethinking of representation. Critical pairings are primal matter, making collage not simply a medium for Hawkins but a philosophy/methodology that defines his art. His earliest mature statements took the form of collage, and the medium has held firm within his oeuvre ever since. For this reason, Richard Hawkins: Third Mind—the artist’s first American museum survey—is largely focused on his collage-based work as a platform from which to understand his larger practice.

The title, Third Mind, makes reference to Richard Hawkins: Of two minds simultaneously, the artist’s 2007 exhibition at DeAppel in Amsterdam. The phrase “of two minds” typically means to be undecided, uncertain, or unsure. It is not indecision, however, that is at play in Hawkins’s practice. Rather he is deliberate and indeed mindful in the “duplicity and ambiguity” that characterizes his work. In this way, Third Mind serves as a testament to the artist’s continued propagation of “minds,” made up of a steady stream of thoughts, ideas, desires, fantasies, interactions, possibilities, viewpoints, opportunities, opinions, memories, and meanings. The title also invokes William S. Burroughs and Brion Gysin’s 1978 book, The Third Mind, which introduced the concept of the “cut-up” in literature. Inspired by the history of collage in the visual arts and a natural extension of Gysin’s own visual collage practice, the cut-up becomes for the authors an alternative to the “either-or proposition” and linear declarative sentence structure that “shackles” Western thought and linguistics. Just as Burroughs and Gysin had deconstructed narrative structure through their cut-ups, Hawkins continually reconstructs himself as an artist with a practice that is remarkably unified within constant yet fluid shifts over time and among genres, techniques, and mediums. Inherent to his work is an invitation to feel things at the extremities of human experience and an acknowledgment, even championing of difference, desire, and pleasure as productive ends in themselves.

We will travel to AIC together at 10:00 on blue line.