Spring 2018 - CA 263 D100

Methods and Concepts: Painting-based Practices (3)

Class Number: 12815

Delivery Method: In Person

Overview

  • Course Times + Location:

    Jan 3 – Apr 10, 2018: Mon, Wed, 9:30 a.m.–12:20 p.m.
    DT VSAR

  • Prerequisites:

    CA (or FPA) 160. A course materials fee is required.

Description

CALENDAR DESCRIPTION:

A studio course introducing painting practices as they relate to practical, conceptual, aesthetic and historical issues in contemporary art. Students with credit for FPA 263 may not take this course for further credit.

COURSE DETAILS:

Through in class assignments, class presentations, and critiques, you will be introduced to basic technical aspects of painting and how the practice of painting is located within the critical discourses of contemporary art.   Attendance and participation are essential. In addition to in class work, you are expected to work outside of class time to keep up with your projects.

Grading

  • Self-Portrait series (3-5 works any medium) 15%
  • Performative Painting (one larger work, open media) 15%
  • Reproduce a Modern Master 20%
  • Artist work and studio etiquette i.e. on time, tidy studio manners, attention to details, presence, taking chances and challenges 5%
  • Artist Presentation Formal 10%
  • Technical Quiz (colour and materials) 5%
  • Project Documentation (digital images of install) and Description (150-200 words/ project) 3x5 15%
  • Class Participation 10%
  • Colour Exploration Diary (sketch book) 5%

NOTES:

Evaluation: It is important that you engage fully with the material in this course, with curiosity and commitment. Your work and your thinking should demonstrate that you have understood the issues and ideas from class projects, readings and presentations.  

Studio/class participation is important. You arrive on time, you work fully engaged in your assignment, you are a good peer; you listen and contribute to class discussions. You use studio tools respectfully. You come to class prepared and your assignments are completed on time.   You will be asked to hand in documentation of your projects after each one is completed. This includes photographs and a short statement outlining those things that you learned from the project.  

Your colour exploration diary will be in a sketchbook or portfolio of smaller investigations of colour relationships. Worked on outside of class, informal short sketches, 10 minimum.    

Completed Projects must be on time, show thoughtfulness and effort, demonstrate an understanding of the assignment, and an increasing awareness of contemporary art in its use of materials and its connotations.  

Painter presentations. You are required to give a presentation on a painter from the list provided. One presentation can be approximately 10-15min. See schedule for dates.

Installation of projects for crits must be considered as to best possible location, lighting, and distance from other art or studio mess. These shouldn’t impede on the workplaces of other students, or on other students’ final installations. Our critiques will take place in the Bartlett.  

Critique Participation: You will be evaluated on your readiness (with sketchbook), your attentiveness in class and the notes you take during discussions, critiques, and research. Thoughtful verbal participation is valued.  

ARTIST PRESENTATIONS: Look at some of these Artists and choose to present one, message me your choices   Jessica Eaton, Athena Papadopoulos, Francine Savard, Elizabeth McIntosh, Sandra Meigs, Jinny Yu, Angela Teng, Alison Yip, Grace Rosario, Jane Ash-Poitras, George Morrison,  Bob Boyer, Christie Belcourt, Jessica Groome, Joyce Wieland,  Wally Dion, Adrian Stimson,  Kazuo Shiraga, Yayoi Kusama, Shigeko Kubota, Bracken Hanuse-Corlett, Summer Wheat,  Sarah Cain, Jordan Bennett, Sonny Assu,  Shawn Hunt,  Mark Igioliorte, Kent Monkman, , Rolande Soulière, Corey Bulpitt, Gary Neill Kennedy, Alex Janvier, Francis Alÿs, Carolee Schneeman, Hurvin Anderson, Rita LeTendre

Studio etiquette: you are required to clean up before you leave class. Wash brushes, clean surfaces. Put used solvent rags in appropriate containers or plastic bags. Return borrowed tools.

Materials

REQUIRED READING:

READING Read these!

“Painting and Performance” Stephen Moonie, Abstract Critical, Dec 13, 2012

“From Action to Inaction: The Tate’s Exploration of Performative Painting” Stephanie Bailey, HypoAllergic

Taussig, Michael, What Color is the Sacred?  Read the First Chapter or more. It is found online in JSTOR “Painting Beside Itself” David Joselit, MIT Press, October 2009

Registrar Notes:

SFU’s Academic Integrity web site http://students.sfu.ca/academicintegrity.html is filled with information on what is meant by academic dishonesty, where you can find resources to help with your studies and the consequences of cheating.  Check out the site for more information and videos that help explain the issues in plain English.

Each student is responsible for his or her conduct as it affects the University community.  Academic dishonesty, in whatever form, is ultimately destructive of the values of the University. Furthermore, it is unfair and discouraging to the majority of students who pursue their studies honestly. Scholarly integrity is required of all members of the University. http://www.sfu.ca/policies/gazette/student/s10-01.html

ACADEMIC INTEGRITY: YOUR WORK, YOUR SUCCESS