ART 175-01 Creative Expression Through Painting
Course Policy
This is a studio class that introduces creative expression through the
fine art of painting. Students will work in the medium to explore the
techniques, processes and theories of painting as an access point to
creative expression. In this course students will prepare a series of
paintings informed by different approaches to painting in contemporary
art; throughout history; and from around the world. Special concern will
be paid to each student's individual level of development. This course
is not open to Art+Design majors. Five and one-half scheduled studio
hours plus three and one-half open studio hours per week.
Course Goals:
This course will:
G1: introduce the fundamental techniques of painting with a focus on conceptual and aesthetic concerns
G2: introduce students to methods to examine the quality of their own and others’ paintings
G3: introduce various approaches to the creative process (idea development)
G4: examine different approaches to painting in contemporary art; throughout history; and from around the world
G5: introduce the importance of taking risks in the process of creative expression
Course Outcomes (Objectives):
Upon successful completion of the course, a student will be able to:
O1: demonstrate advances in their artistic skill, revealing new approaches to their work throughout the semester
O2: create artwork that demonstrates an ability to innovate by employing creative problem solving strategies
O3: explain the various consequences of different creative decisions
O4:
demonstrate an ability to make connections (contextual, material); to
synthesize information and materials into a creative whole
O5: demonstrate their ability to transform existing ideas and approaches to painting into something entirely their own
Topics:
There will be specific assignments to address the following as related to the art of painting:
1. Color Palette and Composition – an introduction to the fundamentals underlying all painting
2.
Representational Painting- given the existence of photography, how does
a painter express their reactions to the world around them in a way
that is still clearly recognizable? We will explore the relationship
between documentation and expression
3. Collage/Mixed Media – we will
explore how different materials introduced into painting can effect
what is being expressed in one’s work
4. Non-Representational – “formalist” approach to expression is explored.
5.
Sketchbook – each student will maintain a sketchbook for collecting all
kinds of things: drawings, cut-outs, notes, color experiments, collaged
6. Artist’s Statements – using words to accompany artwork as a tool for understanding your own expression in another way
7. Art Exhibitions – we will explore the experience of seeing artwork in different settings
8. Portfolio – how to create a collection of work and find the connections within them
Student Experiences:
1. A series of paintings that comply with the professor’s assignments (resulting in a final portfolio)
2. Participation in critiques
3. Written artist’s statements
4. A sketchbook with idea development documented for the professor to review throughout the semester
5. Attendance at art exhibitions to be accompanied by reaction to the exhibition (written and otherwise) in one’s sketchbook
Student Experiences by Course Outcome (Objective) matrix:
student outcome / experience
(e.g. presentations, tests, lab reports, writing projects, discussions, performances, etc.)
The creation of paintings
The maintaining of a sketchbook
Artist Statements
Critiques
Attendance at Art Exhibitions with reaction in sketchbook
Evaluation
Grading is based on results from all assignments (representing
70% of your grade) and participation and performance in class and in critiques
(representing 30% of the course grade).
Please note that this class requires 3.5 hours of work outside of class per week.
See also the attendance policy and special section on critiques in
this document. Late work is reduced by a letter grade for each day that
it is late. The professor reserves the right to determine the course
work and to alter content at his discretion.
All work is due on the final submission date as noted by the professor. No extensions.
As this is a studio class, a student's good performance in relation to the rest of the class and the classroom is also part of their required work in the class. Therefore being a good "citizen of the class" is required. This includes, but is not limited to: engagement in the material being taught, respecting the content of the class and of your classmates as well as cleaning up the studio as part of your routine.
Materials
Your materials must be purchased at Artist and Craftsman Supply, where they have been collected into a specific kit. This kit of required materials has been assembled at a discounted price due to the bulk purchase power of the course.
More information regarding this will be given in class.
About Critiques
Critiques are crucial to the development of one’s skills and techniques.
During a critique, you must be prepared to discuss both your work as
well as that of your classmates in an intelligent and studious manner.
The process is essential to developing a sense of how your work is seen
by others (i.e., outside your own head). It is a tremendous source of
information on how to refine one’s work. Critiques also supply the
professor with evidence of a student’s familiarity with the topics
covered in the class. Your attention to what is said and participation
in constructive criticism of others work, as well as the presentation of
your own work combine to function as a required component of this
course.
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Creative Expression and Appreciation Criteria and where / how they are addressed in this Course
CRITERIA FOR GENERAL EDUCATION CATEGORY CEA:
CREATIVE EXPRESSION AND APPRECIATION
Details
and supplementary information regarding this General Education Category
and its criteria can be found at http://www.salemstate.edu/26049.php.
Note that ALL criteria must be addressed.
Creative Expression and Appreciation Criteria
Course outcome(s) (objective(s)) that address a criteria (e.g. O3, O6)
For
each Creative Expression and Appreciation criterion, locate and
identify CID elements aside from course outcomes, particularly student
experiences, which are directly related to that criterion.
criterion 1: Courses will examine the nature of creativity, including imaginative, intuitive, and innovative thinking
The
students will create artwork in the form of paintings (culminating in a
portfolio at the end of the semester) and work in their sketchbooks,
which will allow them to fully explore the nature of creativity.
Critiques, attendance at art exhibitions and in-class lectures will
provide them with a context with which to examine the creativity that
they encounter either made by themselves or by others.
criterion
2: Courses will foster the critical study of artworks based on the
consideration of their history, their cultural contexts, and their
aesthetics
The students will consider the historical, cultural
and aesthetic context of historical and contemporary works of art. They
will encounter these in lectures and at exhibitions they see throughout
the semester. Looking at historical and contemporary art provides an
invaluable example for the aesthetic impact of an artist’s own
historical, georgraphical and cultural context. The student’s artwork,
critique participation, artist's statements and sketchbook work will
reveal the impact of this critical study on the students’ own creative
process.
criterion 3: Courses will expose students to strategies
and skills of creation within the domain of a performing, visual, or
literary art
The class will include hands-on demonstrations,
lectures, and attendance at exhibitions to reveal strategies and skills.
Students will be asked to employ or address these startegies and skills
within their work.
criterion 4: Courses will engage the
student's own creative and expressive abilities so that the student can
better understand the qualities that shape artistic works and the
creative process
The students' fundamental product from this
class will be their own artwork in the form of a painting portfolio.
This will be accompanied by the sketchbook in which the sources for the
final paintings will be developed.
criterion 5: Courses will encourage students to participate in artistic events on or off campus.
It
will be a requirement of this course to attend art exhibitions on and
off campus. The students' reactions to these exhibitions will also need
to be documented in their sketchbooks.
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NASAD Agreement
In art studio courses, where all or most of the work must be
accomplished in the university art studio facilities, three hours per
week of reserved studio time and space per credit hour is reserved.
Attendance/Lateness Policy
Absences from more than two (2) classes during a semester results
in a lowered final grade for the course. For each unexcused absence over
two, your semester grade may be lowered one notch (from an “A” to an
“A-,” etc.). Four(4) absences result in a failing grade. You will need a
note from your doctor for any absences beyond the two allowed. It is
the student’s responsibility to contact the instructor for any missed
assignments and to schedule makeup work if applicable.
• Two (2) late arrivals is considered one (1) unexcused absence.
• When a class period has been classified by the professor as an in-class work period your attendance is still required.
• Early departure from class is only allowed upon the permission of the professor.
• “Unprepared for class” is excused a the first occurrence. The
second and all subsequent incidents are considered an absence.
Cellphones/Mobile Devices
• NO ACTIVE CELLPHONES ALLOWED IN CLASS : Please turn off your cellphone before entering the classroom. The student responsible for a cellphone ringing or buzzing during class is marked absent. If you are texting during class you are marked absent.
• URGENT CALL SCENARIO: If you have an urgent call that you are anticipating and it cannot be avoided during our class meeting time then let me know before class.
• UNIVERSITY EMERGENCY SCENARIO: Please note that the classroom has 2 hardwired phones that will ring of there is an emergency announcement going out using the University alert system.
• NO EARBUDS ALLOWED IN CLASS
Food
•No food may be eaten in the classroom.The materials we will be using can be harmful and are often not visible when on hands, etc.
•Drinks are permissible, but any materials not disposed of will be considered in relation to the "good citizen of the class" requirement listed above under "Evaluation"
In the event of a university declared critical emergency,
Salem State University reserves the right to alter this course plan.
Students should refer to www.salemstate.edu for further information and
updates. The course attendance policy stays in effect until there is a
college declared critical emergency.
In the event of an emergency, please refer to the alternative
educational plans for this course located on this website. Students
should review the plans and gather all required materials before an
emergency is declared.
Exhibitions
Student work may be selected for exhibition purposes. Work will be borrowed by the faculty and returned at a later date.
Students with Disabilities
Salem State University is committed to providing equal access to
the educational experience for all students in compliance with Section
504 of The Rehabilitation Act and The Americans with Disabilities Act
and to providing all reasonable academic accommodations, aids and
adjustment. Any student who has a documented disability requiring an
accommodation, aid or adjustment should speak with the instructor
immediately. Students with disabilities who have not previously done so
should provide documentation to and schedule an appointment with the
Office for Students with Disabilities and obtain appropriate services.
Bibliography:
Albala, Mitchell; Landscape Painting: Essential Concepts and Techniques for Plein Air and Studio Practice, Watson-Guptill; 2009
Albers, Joseph; The Interaction of Color, Yale University Press; Revised edition, 1975
Carlson, John F.; Carlson's Guide to Landscape Painting, Dover Publications, 1973
Colalucci,
Gianluigi; Hirst, Michael; Pietrangeli, Carlo; The Sistine Chapel: A
Glorious Restoration, Abradale Press Harry N. Abrams, Inc. Publishers,
1994
De Antonio, Emile (director); Painters Painting: The New York Art Scene 1940-1970, New Video, 1973
Downes, Rackstraw (editor), Art in Its Own Terms, Fairfield Porter, MFA Publications/artWorks, 2008
Downes, Rackstraw; In Relation to the Whole / Three Essays From Three Decades (EP 10), , EDGEwise Press; 2nd edition, 2004.
Elderfield, John; Henri Matisse: A Retrospective, Museum of Modern Art, New York, 1992
Friedel, Helmut; Hans Hofmann Hudson Hills, 1998
Goya, Francisco; The Disasters of War (Dover Fine Art, History of Art) Dover Publications, 1967
Griffin, Randall C.; Winslow Homer: An American Vision Phaidon Press, 2006
Homer, Winslow; The Watercolors of Winslow Homer Miles Unger Editor, W. W. Norton & Company, 2001
Hirshler, Erica; John Singer Sargent: Watercolors, MFA Publications/Brooklyn Museum, 2013
Hawthorne, Mrs. Charles W. (Compiler); Hawthorne on Painting (Dover Art Instruction) Dover Publications, 1960
Itten, Johannes (Translated by Ernst Van Hagen); The Elements of Color, New York: Van Nostrand Reinhold Company, 1970
Jennings,
Simon; The New Artist’s Manual: A Complete Guide to Painting and
Drawing Materials and Techniques, San Francisco, CA: Chronicle Books,
2006
Matisse, Henri; Chatting with Henri Matisse: The Lost 1941 Interview, Getty Research Institute, 2013
Poore, Henry Rankin; Pictorial Composition (Composition in Art) (Dover Art Instruction), Dover, 1976
Schmid, Richard; Alla Prima: Everything I Know about Painting,
Manchester Center, VT: Stove Prairie Press, 1999
Spurling, Hilary; Matisse the Master: A Life of Henri Matisse: The Conquest of Colour, 1909-1954, Knopf; Reprint edition. 2007
Troyen, Carol; Barter, Judith; Davis, Elliot; Hopper, Edward; Edward Hopper, MFA Publications, 2007
Ottmann, Klaus; Fairfield Porter: Raw: The Creative Process of an American Master, GILES, 2010
Wong, Wucius; Principles of Color Design, John Wiley & Sons, Inc.; 2nd edition, 1996
