KIRSTIN E. LAMB 79 Dana Street, Providence, RI 02906 / 617-270-8357 [email protected] / http://kirstinlamb.squarespace.com

SAMPLE SYLLABI

In this Document: Visa 0100 Section 4 Fall 2014 / Studio Foundations / Brown University Visa 1120 Spring 2008 / Drawing II / Brown University Visa 0131 Fall 2007 / Painting I / Brown University (formerly called VA 131)

STUDIO FOUNDATION: VISA 0100 SECTION 4 FALL 2014 VISUAL ART DEPARTMENT BROWN UNIVERSITY List Building Room 225 T,TH 1pm – 2:50pm September 4th – December 11th 2014 Instructor: Kirstin Lamb Contact Information: Office Hours: T, TH 3-4pm and by appointment / Location: List Room 529 Email: Kirstin [email protected] OR [email protected] Phone: 617-270-8357

COURSE DESCRIPTION

Visual art can encompass a broad array of disciplines, from painting, drawing, photography, printmaking, and sculpture, to video, performance, animation, installation, graphic design and fiber arts. The scope of this course allows for a short introduction to many of the varied means of expression available to contemporary visual artists, but insists upon a firm foundation in drawing and two-dimensional work.

The focus of this course will be on the development of rendering and compositional skills, primarily in a mixed media drawing format, as well as an exploration of broader strategies of making. Investigations of color theory, perspective, composition, and extensive work from in class still life, model, and landscape will all be integral components to the class. Weekly slide lectures will place assignments in historical and contemporary context.

COURSE OBJECTIVES

• Gain a working knowledge of formal concepts such as light and shadow, line, volume, negative space, mark making, composition, scale, and measurement • Render from life with greater competence and precision • Explore the basic principles of color theory and one and two point perspective • Examine conceptual practices in art making through in class projects, collaborations, and readings • Develop critique and editing skills • Craft an individuated relationship to subject matter and working praxis • Maintain a daily relationship with the studio through sketchbook practice to be begun at the start of the session • Gain a broader view of both contemporary and historical visual art

COURSE REQUIREMENTS

• Completion of all in-class and homework assignments • Regular attendance in class • Participation in group critique and discussion • Readings to be assigned throughout the semester • Final Critique • Ambition in the scope of work devised and executed • Adherence to local and school standards of health and safety • 6-8 hours of studio work weekly outside of class time (suggested minimum) • Daily journal practice • COLLECTION OF ALL WORK MADE IN THIS COURSE/STUDIO (save all class assignments, drawings, and extracurricular projects to present in your final individual critique)

ATTENDANCE POLICY

Attendance at each class is mandatory. A studio class needs everyone’s presence to succeed! Missing classes can be harmful to the improvement of skill development, quality of output, and understanding of conceptual concerns related to this course. Lenience for absences due to extended illness, emergencies, and extremely unfortunate circumstances will be considered on an individual basis.

Lateness in this course, beyond 20 minutes time, will also count as a course absence after 2 late arrivals. Be aware of your obligation to your peers and arrive on time.

EPA POLICY

Students will be required to follow EPA guidelines and restrictions in the handling and disposal of waste generated during their studio practice. Smoking and eating are not allowed in the studios or the studio balconies. For our course, Spray Fixative and other sprayed products must be used in the fifth floor Spray booth. All media introduced into the classroom must be approved by the instructor. EPA regulations will be explained in depth at our first class meetings, including waste disposal procedures.

GRADING POLICY

A = Exceptional effort on in-class and homework assignments, completion of all required work, daily use of sketchbook, marked improvement in skill and criticality, complete attendance in class, habitual and positive participation in group critique and discussion, ambition in self-directed projects, flexibility in encountering new and unfamiliar projects and ideas B = Sustained and constructive effort on in-class and on homework assignments, completion of all required work, improvement in skill and criticality, regular attendance in class, positive contribution to class environment and community, strong work in journal. C = Satisfactory effort on in-class and on homework assignments, some class absences, marginal participation in class or participation that is not constructive in critique, lack of completion of some self-directed work NC = Unsatisfactory or marginal effort on in-class and on homework assignments, lack of completion of required class work, lack of improvement in skill and criticality, an excess of class absences, no participation or negative participation in class and critique, negligible contribution to class community.

RECOMMENDED TEXTS

(I will give some readings, lecture slides, and exercises from these texts, but please expect a wide variety of sources from week to week. Some of these texts will be optional references only. Please purchase books for your own reference; you will not be required to purchase any one text for this course.)

A Primer of Visual Literacy Donis A. Dondis Ways of Seeing John Berger The Object Stares Back James Elkins Techniques of the Observer Jonathan Crary Visual Thinking Robert Arnheim Inside the White Cube Brian O’Doherty Art In Theory Ed: Harrison, Wood, and Gaiger The Visual Culture Reader Ed. Nicholas Mirzoeff Design and Form Johannes Itten The Art of Color Johannes Itten Color: A Natural History of the Palette Victoria Finlay Basic Perspective Drawing: A Visual Approach John Montague Geometry of Design Kimberly Elam The Artist’s Handbook of Materials and Techniques Ralph Mayer The Drawing Book: A Survey of Drawing: The Primary Means of Expression Ed. Tania Kovats Drawing on the Right Side of the Brain Betty Edwards The Art of Drawing Bernard Chaet On Line: Drawing Through the 20th Century (MOMA) Ed: Butler, Zegher Drawing: A Contemporary Approach Teel Sale, Claudia Betti

COURSE SCHEDULE

Week 1 Thursday September 4th Introductory Slide Lecture: What is Foundations? AND Line: Gesture, Contour, Blind Contour Sol Lewitt, Alan Saret, Robert Motherwell, Martin Ramirez, Joan Mitchell, Alberto Giacometti, Heide Fasnacht, Eugene Delacroix, Frank Gehry, Willem de Kooning, Michael Heizer, Fred Sandback, Walter de Maria, Julie Mehretu, Alice Neel, John Cage, Robert Ryman, Eva Hesse, John Baldessari, Cy Twombly, Joan Snyder In Class: Exquisite Corpse, Review Syllabus Assignment (Due Tuesday September 9th): BLIND CONTOUR AND GESTURE • Make 5 blind contour drawings of objects, plants, or hands • Make 5 gesture drawings of clouds, dancing people, or birds and squirrels (something moving) • Begin your daily journal / purchase a journal no smaller than 9 x 12 inches • Purchase supplies for this course (see attached supply list)

Week 2 Tuesday September 9th In Class: Gesture Drawing Exercises, Blind Contour Exercises Negative Space, Implied Ground, Foreground and Background Assignment (Due Thursday September 11th): CONTINUOUS CONTOUR • Make a personal still life at home of at least 3 objects • Draw the objects using a continuous contour line (unbroken solid line / no sketchy marks) • This can be a blind continuous contour or a sighted continuous contour, your choice / for examples please see the canvas course web page

Thursday September 11th Slide Lecture: Shape, Value, Contrast and Measurement (Sighting and Scale) Itten’s Design and Form slides on Contrast (much-little, smooth-rough, etc), Sol Lewitt, Dorothea Rockburne, Betty Woodman, Joel Shapiro, Terry Winters, Louise Bourgeois, de Chirico, Leger, Brancusi, El Lissitzky, Miro, Henry Moore, Ben Nicholson, Jean Helion, David Smith, Robert Motherwell, Franz Kline, Lygia Clark, and Robert Morris In Class: Primer on Scale and Measurement (Sighting) Implied Ground, Ink wash, Shape and Form, Platonic Forms, Cones, Spheres Still Life, Light and Shadow, Value Study drawings, Spatial Arrangement and Foreground / Background Assignment (Due Tuesday September 16th): VALUE • Make a value scale with at least 10 values of light to dark in charcoal; you may also try this in graphite if you wish. Please do this on your 18 x 24 inch paper. • Draw an object of personal significance with a single light source. Make sure you have at least 6 values of light to dark

Week 3 Tuesday September 16th NATURE LAB: Trip to the Nature Lab (arrive in class early – we leave at 12:45pm to go to the RISD Nature Lab down the hill) One Value Drawing and One Contour Drawing of the same specimen Additional specimen drawings as possible in your journal or Bond sketchpad Tour of the lab’s resources Assignment (Due September 23rd): FANTASTIC PLANET / NEW SPECIES • Take your carefully studied imagery from the nature lab and combine and manipulate different animals, plants, and bones into an imagined creature or world of creatures / open media • Online Slide Lecture: Animals: Audubon, Jennifer Pastor, Stubbs, Ann Craven, Edward Hicks, Susan Rothenberg, cave drawings at Lascaux, Lucy Gunning, Paul de Vos, Jean- Baptiste Oudry, Jan Weenix, Eugene Delacroix, Frans Snyders, Justin Gibbens, Nina Katchadourian, Robert Longo, Laurie Hogin, Dana Schutz, Liz Craft, Laura Owens, Rune Olsen, Rona Pondick, Mark Dion, Rachel Berwick, Kojo Griffin, Lisa Young, Boyce Cummings, Kunstkammers, Curios and Taxonomies • Images of past student work will also be available of the Canvas website

Thursday September 18th Check in with Journals in individual meetings / Discuss Journaling In Class: Value Drawings with Platonic Forms and Plaster Casts, Erasure Drawings Continued Review and Critique Value drawings in Class, if time, begin negative space drawings in class Assignment (Due Thursday September 25th): NEGATIVE SPACE • Make a drawing of an object using only negative space shapes (hint: use ink to delineate the negative and positive shapes – see examples on canvas course web page) Reading: Ways of Seeing, Berger (on digital reserve as well as physical reserve at the Rockefeller Library) reading due September 25th

Week 4 Tuesday September 23rd Critique Fantastic Planet / New Species Slide Lecture: Composition and Communication Strategies (Symmetry/ Asymmetry, Cohesion, Balance of the Steelyard Slide Lecture: Collage Collage: Kurt Schwitters, Romare Bearden, Betye Saar, Joseph Cornell, Picasso, Georges Braque, Max Ernst, Matisse, Eduardo Paolozzi, Margaret Mellis, Mark Bradford, Kim Jones, Jonathan Hernandez, John Stezaker, Wangechi Mutu, Ceci Mendez, Hannah Hoch, Richard Hamilton, Jockum Nordstrom In Class: Collage, Collaborative project on Composition, Reassemble masterpieces in class/ Reassemble your favorite artwork, Take a journal drawing and cut and reassemble to apply new compositional principles, Alternative materials studies, research Assignment (Due September 30th): COLLAGE AN OLD DRAWING Make a collage using only drawn elements you create • Start with a drawing (or a series of drawings – you may want more elements) • Disassemble that drawing in any way you like, tearing, cutting, folding, biting, your choice – any size pieces • Reassemble the pieces using any method you like to create any kind of object you like (sewing, gluing, taping, crumpling, encasing in another material) • Re-arrange each set of components until you are satisfied with your composition Reading: A Primer of Visual Literacy, Donis (on digital reserve and Rockefeller Library physical reserve) and Johannes Itten “Materials and Texture Studies” from Design and Form both readings due October 2nd

Thursday September 25th Critique Negative Space / Discuss Ways of Seeing Collage and composition in class exercises continued Media Demonstrations: Acrylic mediums, acrylic transfer methods, additional drawing transfer methods, and alternative collage media for paper Start Slide Lecture: Landscape and Perspective (for next weeks’ class)

Week 5 Tuesday September 30th Slide Lecture: Color and Limited Palette Johannes Itten, Josef Albers, Moma Show Color Chart, Op Art, Bridget Riley, Blinky Palermo, Frank Stella, Matisse, Stuart Davis, Morris Louis, Kenneth Noland, Dan Flavin, Yves Klein, Victor Vassarely, Alfred Jensen, Spencer Finch In Class: Gouache, Collage and direct painting, Make your own color wheel Critique both Collage and Perspective Projects Assignment (Due October 7th): LIMITED PALETTE • Make a limited palette image or sculpture of your choosing • Record all colors used in your Journal (minimum palette must be 20 colors) • Complete unfinished color wheels and color exercises from class Reading: Color, A Natural History of the Palette, Finlay (due October 7th)

Thursday October 2nd Bring Gouache to class Color study, Color collage exercises

Week 6 Tuesday October 7th TRIP TO THE RISD MUSEUM Draw One and Two Point Perspective in the Grand Gallery and Ancient Collections In Class: Interior study, Perspective drawings, Overlap and ground plane studies, Scale Demonstration: Using a viewfinder, Plexiglas grid (sample Durer’s drawing machine) for more complex perspectival challenges Assignment (Due Tuesday October 14th): INTERIOR IN ONE OR TWO POINT PERSPECTIVE • Render an observed interior landscape using what we have learned in class about the rules of perspectival drawing and what you have learned about measurement using sighting. • Play with ideas of what constitutes an interior if you like (maybe draw the interior of a box, a dollhouse or a maquette) • Try to take into account what kind of interior you are drawing: Is this an industrial interior? A domestic space? An institutional space? How would you draw that differently? Why? • This project may be completed with drawing media, collage, or ink

Thursday October 9th Finish Slide Lecture: Landscape and Perspective (or finish online prior to class if we visit RISD again) Nicholas Poussin, John Constable, William Hogarth, David Hockney, Piranesi, Andrey Belogrud, Milton Avery, Nathalie Miebach, Howard Hodgkin, Arthur Dove, Albert Bierstadt, Thomas Cole, American Landscape Tradition, Luminism, sublimity, Toba Khedori, Rachel Whiteread, Julie Mehretu, Hieronymous Bosch, de Chirico, Salvador Dali, Diego Rivera, Walker Evans, Eugene Atget, Andre Masson, Helen Frankenthaler, Ed Ruscha, Ojvind Fahlstrom, Guillermo Kuitca, Mary Lydecker, Caspar David Friedrich

Week 7 Tuesday October 14th Critique Limited Palette In Class: Model Study, Gesture and Short Pose, Charcoal, Ink Wash, and Chalk, Figure in space, figure in movement, study of shifting weight, scale and measurement in model drawing Slide Lecture: Figure Study George Grosz, Louise Bourgeois, Edgar Degas, Picasso, Leonardo da Vinci, Rembrandt, Gustav Klimt, Peter Paul Rubens, Matisse, Michelangelo, Richard Diebenkorn, Honore Daumier, Alberto Giacometti, Kathe Kollewitz, Kiki Smith, Phillip Pearlstein, Giovanni Battista Tiepolo, Lucien Freud, Manet, Egon Schiele, Jean Dubuffet, Francis Bacon, Willem de Kooning, Jenny Saville, Sue Williams, Kara Walker Assignment (Due October 21st): 20-MINUTE PORTRAITS 20-minute portraits of 10 different individuals • These can be portraits in the loosest or strictest sense of the word: a collection of objects in a still life constitutes a portrait, as does an image depicting facial features or a hand • 4 portraits may portray classmates • You must keep strict time and stop if incomplete • Record the order in which pictures were made • 4 of the portraits must be pencil drawings • The rest may be in a media of your choice – 20 minutes of photography (long exposure, or the same duration of rapid fire photographs, etc.. you set the parameters), 20 minutes of film (see Andy Warhol’s film portraits, the “Screen Tests” for one really inspiring set of film portraits), 20 minutes in sculpted form (clay, cardboard, sticks, hair, textiles, you name it), 20 minutes in folded paper – please vary your media, I don’t want 6 additional 20 minute portraits in photography, I want you to think about what a portrait is and can be Reading: The Object Stares Back, Elkins (Due October 21st)

Thursday October 16th Drawing from the model Bring alternate materials for study in addition to pencil and charcoal – modeling clay, ink washes, cut papers, gouache

Week 8 Tuesday October 21st Slide Lecture: Portraiture Piero della Francesca, Durer, Ralph Meatyard, Cindy Sherman, Kate Gilmore, Millee Tibbs, Holly Coulis, Gerhard Richter, Laurie Simmons, Shazia Sikander, Glenn Brown, Kathleen Giljee, Sargent, Edward Hopper, Alice Neel, Alex Katz, Balthus, Frida Kahlo, Frans Hals, Stephen Balkenhol, John Currin, Francois Boucher, Christian Schad, Hans Belmer, Jacob Lawrence, Diane Arbus, Andy Warhol, Catherine Opie, Zoe Strauss, Laylah Ali In Class: Model/ Portrait study today Individual Feedback for 20 minute portraits / If time small group critiques Assignment (Due October 28th): SELF PORTRAIT IN COSTUME • Self Portrait in Costume / Makeup / Handmade Costume • Self Portrait in drag, self portrait as superhero or anti-hero, self portrait as your doppelganger, self portrait as your mother • Some portion of your costume or makeup must be handmade or hand-done – you must then depict yourself in this costume (draw yourself in costume, present a staged performance with typed directions / directives, enlist someone else to perform in your costume and record it, have someone else record you, the list goes on • These portraits can be photographs, performance, video, drawing, collaborative works, installation, gouache, collage, whatever you choose/have access to use Reading: Excerpts from: Practices of Looking, Sturken and Cartwright; Ecrits, Lacan; Rosalind Coward’s “The Look” from Reading Images (due October 28th)

Thursday October 23rd Model/Portrait study continued / Final day of model study – bring any media you would like to try in class

Week 9 Tuesday October 28th Slide Lecture Grid: Mona Hatoum, Sol LeWitt, Terry Winters, Jennifer Bartlett, Judy Pfaff, Agnes Martin, Jackie Windsor, Piet Mondrian, Chuck Close, Joyce Kozloff, Miriam Schapiro, Rachel Whiteread, Jonathan Lasker, Ellen Gallagher, Nasreen Mohamedi, Gego, Cornelia Parker, Susan Hefuna, Pierette Bloch, Wendy Edwards, Atsuko Tanaka, Ranjani Shettar, Peter Halley, Ellsworth Kelly, Larry Poons, Julia Jacquette Critique of Self Portrait in Costume and 20 minute portraits and discuss readings Assignment (Due November 4th): THE GRID • Make a drawing using the grid as a guide or format in sculptural or two-dimensional form. Your grid must in some way inform the foundation or completion of the drawing in an integral way. Reading: On Line, Moma (due Nov 4th)

Thursday October 30th Work on The Grid in class Investigate Owen Jones’ Grammar of Ornament

Week 10 Tuesday November 4th Critique Grid Slide Lecture: Maps / Diagrams / Utopia Julie Mehretu, Franz Ackerman, Alfred Jensen, Beatriz Milhazes, Alighierho Boetti, Phrenological images, fantasy and fictional maps, Albrecht Durer, Anonymous cartographers, Thomas More’s Utopia, Oyvind Fahlstrom, Peter Halley, Mark Bennett, Kelly Sherman, Joseph Cornell, Andy Warhol Assignment (Due November 11th): MAPS / DIAGRAMS / UTOPIAN GARDEN Make an invented world that uses the language of maps and diagrams • Think about how a map or a diagram uses visual language, how can you appropriate and steal from that language? • How might you use the framework of a Utopian Garden to change the context of the map and diagrammatic language you use? What is Utopian? Can it be mapped? Is it idealistic? A concept to be mapped or charted?

Thursday November 6th Work on Maps and Diagrams

Week 11 Tuesday November 11th Critique Map / Diagram / Utopian Garden Slide Lecture: Gravity Donald Judd, Sol LeWitt, Tony Smith, Frank Stella, Duchamp, Meret Oppenheim, Joseph Cornell. Claes Oldenburg, Yayoi Kusama, Eva Hesse, Mike Kelley, Annette Messager, Vito Acconci, Lynda Benglis, Tom Friedman, Anish Kapoor, Richard Serra, Kiki Smith, James Hyde, Portia Munson, Jessica Stockholder, Franz Ackerman, Tony Oursler, EV Day Assignment (Due November 20th): GRAVITY What can you get away with in 2D that you cannot in 3D? Make a 3D object that takes advantage of gravity or showcases the forces of gravity. Make a 2D object that flouts the rules of gravity. Make sure both objects relate to one another in at least one way (color, narrative, materials, depiction, the choices are broad). Reading: “Sentences on Conceptual Art”, Lewitt (due November 18th)

Thursday November 13th Work on Gravity / 3D projects in class

Week 12 Tuesday November 18th Work on Gravity / 3D projects in class

Thursday November 20th Critique Gravity Slide Lecture: Activity (Performance, animation, drawing machines, kinetic sculpture) Joseph Beuys, Franz Erhard Walther, Sophie Calle, Ana Mendieta, Shigeko Kubota, Nam June Paik, Yoko Ono, Herman Nitsch, Valie Export, Allan Kaprow, Coco Fusco, Guillermo Gomez Pena, On Kawara, William Kentridge, Laurel Nakadate, Ann Hamilton, Carolee Schneeman, Felix Gonzalez-Torres, Jennifer Levonian, Alexander Calder, Marcel Duchamp, Lyman Whitaker, László Moholy-Nagy, Rube Goldberg, Jean Tinguely, Robin Mandel, Kota Ezawa, Kate Gilmore, Ann Lislegaard, Janine Antoni, Tino Sehgal, Rirkrit Tiravanija, Pipilotti Rist, Matthew Barney Assignment (Due December 2nd): ACTIVITY Animation, Film, Performance, or movement in a still object / installation / two-dimensional surface What activities are important? Under-analyzed? Repetitive? How do you make a still object move? Reading: “Appropriation” chapter from Art Since 1940, Jonathan Fineberg (revision)

Week 13 Tuesday November 25th Film Screening Work in class on Activity – workshop, performance exercises Slide Lecture: Narrative Amy Sillman, Haim Steinbach, Joanne Todd, Leon Golub, Loren Holland, Hernan Bass, Andrea Lehman, fresco, mural, tapestry, Diego Rivera, Duccio, Giorgione, Hillary Harkness, Adam Cvijanovic, Alex Katz, narrative annihilation, painting from photography as narrative, narrative and whimsy, Royal Art Lodge, Julie Heffernan Assignment (Due December 11th): NARRATIVE / STORYTELLING • Incorporate elements in your drawing, sculpture, installation, assemblage (etc.) that suggests the passage of time or action taking place between elements (characters) / open media

Thursday November 27th NO CLASS THANKSGIVING BREAK

Week 14 Tuesday December 2nd Critique Activity Project Screenings and Performances in Class

Thursday December 4th Work in Class on Final Project / Visiting Artist

Week 15 Tuesday December 9th Work on final project / Narrative Storytelling Group Workshop technical problems

Thursday December 11th FINAL CRITIQUE – class party / final projects due Come early to hang your work!

Exam Week – Optional Final Meetings (location TBA)

DRAWING II - VISA 1120 SPRING 2008 VISUAL ART DEPARTMENT BROWN UNIVERSITY SPRING 2008

List Building Room 325 Mondays and Wednesdays 1-4:50PM Instructor: Kirstin Lamb Contact Information: Office Hours: 5-6pm Mondays and Wednesdays Office #: List Building Room 529 Email: [email protected] (preferred) Office Phone: 401-863-3381 Course Web Page on myCourses: please check for additional calendar and assignment updates on the course website / this syllabus is subject to revision

COURSE DESCRIPTION

Drawing is an expansive and challenging medium. It is the foundation of much artistic practice, a skill of accurate apprehension and depiction of the world around you as well as emotional observation and execution of abstract thoughts and values. This is a course for students who have completed a semester or more of drawing study. The focus of this course will be on continued development of rendering and compositional skills, as well as an exploration of different strategies of making. Investigations of color theory, extensive work from still life, model drawing with an emphasis on anatomy, clothing, and portraiture, landscape and interior rendering, and abstraction and pattern investigations will all be integral components to the class. This course will include many thematically oriented projects, as well as a significant portion of experimental drawing. This is a course designed to aid you in perceiving the world around you accurately on a two dimensional plane as well as prepare you for the conceptual challenges of drawing as a fine art medium. Discussion, critique, studio and homework assignments are all integral to the development of your drawing practice.

COURSE OBJECTIVES

• Review formal drawing concepts such as: light and shadow, line, volume, negative space, mark making, composition, scale, measurement, completion of a work, and one and two point perspective • Investigate Academic and Atelier methods and drawing tools • Delve deeper into color theory and compositional questions • Render from life with greater competence and precision • Examine conceptual practices in drawing through in class labs, collaborative projects, and readings • Craft an individuated relationship to subject matter and working praxis • Maintain a daily relationship with drawing through sketchbook practice to be begun at the start of the semester • Develop critique and editing skills • Expand definitions of drawing and acquire a wider knowledge of its history as an art form and as a planning or drafting media

COURSE REQUIREMENTS

• Completion of all in-class and homework assignments • Regular attendance in class • Participation in group critique and discussion • Readings to be assigned throughout the semester • Final Critique • Ambition in the scope of work devised and executed • Adherence to local and school standards of health and safety • 8 -10 hours of studio work weekly outside of class time (suggested minimum requirement) • Daily journal practice • COLLECTION OF ALL WORK MADE IN THIS COURSE/STUDIO (save all class assignments, drawings, and extracurricular projects to present in your final individual critique)

EPA POLICY

Students will be required to follow EPA guidelines and restrictions in the handling and disposal of waste generated during their drawing practice. Smoking and eating are not allowed in the studios or the studio balconies. EPA regulations will be explained in depth at our first class meetings, including waste disposal procedures.

Please view Brown EPA standards and RISD EPA resource links on our myCourses web page, as well as simple procedures for the use of hazardous materials such as spray fixative in the spray booth, etc.

ATTENDANCE POLICY

A studio-based class needs your presence to succeed! Missing classes can be harmful to the improvement of your drawing skills, quality of output, and understanding of drawing concepts. Much of drawing is learned from the observation of your classmates working, drawn examples of how a particular problem should be attacked, visual examples of drawings and paintings, and the ability to ask questions and be critiqued and questioned as you work. You will find that the drawing studio fosters a very positive artistic community, and part of the trust that your class and I place in you as a community member is regular attendance.

Attendance is mandatory at every class. Missing an excess of classes for any reason will be grounds for the lowering of your grade. I will only give consideration and lenience in this matter for absences due to extended illness, emergencies, and extremely unfortunate circumstances on an individual basis. Extended health-related absences will require a note of confirmation from Health Services (x-33953). Ordinary illness, doctor’s appointments, job interviews, optional travel, last-minute class work, oversleeping, and similar situations will not be considered grounds for leniency and shall be counted as absences. If you do not think you will be able to attend class on a regular basis this semester, please do not take this course.

Those with extracurricular travel schedules (such as varsity athletes or artists in performance groups) which will include missed classes should provide me with an official schedule of these planned absences as early as possible in the semester.

EMAIL POLICY

In order to receive information and assignments related to this class you must have a working Brown University email account and you must check it regularly. I will only use Brown University email accounts so if you have an off-campus email account you must forward your email from your Brown account: http://www.cs.brown.edu/system/email/forwarding.html

I will do my best to respond to your emails within 24 hours of receipt. Email is the best way to contact me, as I am a visiting instructor.

IN CLASS CLEAN-UP

Our class period runs from 1pm – 4:50pm. You will be required every class meeting to take part in a general clean up of the classroom, as well as be responsible for the removal of your own materials and work at the end of the class period. I will stop the class at least 10 minutes early (as possible) to allow for enough time to clean up so you all can get to your next class or screening. You will be asked to clean any shared supplies, clean work surfaces of charcoal and ink, return all desks and model stands to their original positions, clean the floor around your workspace as necessary, and generally aid in the tidying of the room by throwing out scrap paper and returning borrowed supplies to the proper places in the room. Your classroom is shared with multiple Drawing and VA10 classes and it is important that we take consideration for the next users of the room. Thank you in advance for your help.

GRADING POLICY

A = Exceptional effort on in class and homework assignments, completion of all required work, marked improvement in drawing skill and criticality from start to finish of course, regular attendance in class, habitual and positive participation in group critique and discussion, ambition in self-directed projects, copious entries in journal, flexibility in encountering new and unfamiliar projects and ideas, and positive contribution to the class environment and community. B = Sustained and constructive effort in class and on homework assignments, completion of all required work, improvement in drawing skill and criticality, regular attendance in class, weekly entries in journal, capable participation in group critique and discussion, full completion of self-directed projects, and positive contribution to class environment and community. C = Satisfactory effort in class and on homework assignments, lack of completion of a portion of the required class work, many class absences, some improvement in drawing skills, limited participation in class or participation that is not constructive in critique, lack of completion of self-directed work, few entries in sketch journal, small or negligible contribution to class community. NC = Marginal or unsatisfactory effort in class and on homework assignments, lack of completion of required class work, lack of improvement in drawing skills, an excess of class absences, no participation or negative participation in class and critique, lack of sketch journal, negligible contribution to class community.

MISSED HOMEWORK/CLASS WORK POLICY

If any homework turned in should be deemed unsatisfactory or in need of improvement, I will give you extra time on an individual basis to rework the given drawing, provided that you continue with the rest of your class work uninterrupted. This is not a policy for non- completion of assignments. Those assignments not completed in time for class will be recorded as late and should be completed by the next class. All late/reworked assignments and class work must be collected at the end of the semester for your portfolios. No exceptions!

MATERIALS FOR THIS COURSE

Most of the materials for this course are listed on your materials list. You will be asked to purchase pads as well as sheeted papers throughout the semester for assignment work. All basic course materials such as paper, charcoal, pencils, pen and ink, must be purchased in time for the second class. You should purchase an Artbin or carryall and a drawing board at the RISD store or Utrecht if you do not already have one.

Since this is a Drawing II course, I would also like to invite you to consider alternative supplies later in the semester. I will be introducing some more unconventional drawing experiments that may inspire you to look beyond what is suggested on your materials list of basic supplies. If this is the case, you will need to purchase these supplies later in the semester, but please do not hesitate to ask me questions about other drawing media and their costs: oil pastel, watercolor, gouache, architectural pens, collage media, etc.

I request that at this time that no oil painting media, spray paint, chalk pastel, or enamel paint be introduced into our classroom space, as the classroom does not have the facilities, disposal, or ventilation to support their use. If you are in doubt about a particular media’s viability in the shared space of the List 325 drawing room please ask!

RECOMMENDED READINGS

(I will give some readings and exercises from these texts, but please expect a wide variety of short readings from week to week. Some, but not all of these texts will be on reserve at the Rock for you to read there or photocopy as you wish. Some of these texts will be optional references only. Please purchase books for your own reference; you will not be required to purchase any one text for this course.)

The Art of Drawing Bernard Chaet c. 1978 Drawing Distinctions Patrick Maynard c. 2005 Drawing on the Right Side of the Brain Betty Edwards c. 1979 Interaction of Color Josef Albers c. 1963 The Elements of Color Johannes Itten c. 1961 Theory of Colors Johann Wolfgang von Goethe 1840 A Primer of Visual Literacy Donis A. Dondis c. 1973 Geometry of Design Kimberly Elam c. 2001 The Drawing Book: a survey of drawing the primary means of expression ed Tania Kovats c. 2007 Theory and Practice of Perspective G.A. Storey 1910 The Power of the Center Rudolf Arnheim c.1988 Color: An Introduction to Practice and Principles Rolf Kuehni c.2004 (online course reserve for this class) Entropy and Art Rudolf Arnheim c. 1971 Inside the White Cube Brian O’Doherty 1986 Atlas Gerhard Richter c.2006

COURSE SCHEDULE

(This is just a topical guide and is subject to change as needed and/or dictated by the weather, model schedules, and your progress as advanced students.)

All of your assignments will be given out weekly and bi-weekly in written or verbal form, depending on the complexity of the assignment. Sometimes I may supplement a verbal assignment in class with a description of the assignment on the Drawing II myCourses website. I plan to post accompanying course lectures and in-class material within 24 hours of presentation or examination in class on the myCourses website as well.

Week 1 Wednesday, Jan 23rd Course Introduction Introductory Lecture Course Materials Lists Drawing II MyCourses Web Page Introductory Assignment: 7 Unrelated Drawings - Due 1/28

Week 2 Monday, Jan 28th Opening Crit / Critique Ground Rules – 7 Unrelated Drawings Advanced Still Life Set Up / Plaster Cast Drawing Sighting Review, Sight Size Drawing Journal Practice Introduced and Begun Daily Portraits- Due 2/4 Wednesday, Jan 30th Opening Model Drawing Session Gesture, Short Pose, 1-2 Long Pose, Blind Contour, Drawing Left- Handed, Drawing with both hands, blocking in shadow, grayscale Chasing the Figure Exercise: 20 drawings of figures in movement (in a café, on the stairs, in your dorm, look around you!) 20 drawings of animals in movement (Go outside, go to the RISD nature lab. This is more fun if you bundle up and chase squirrels, I promise, get some sunshine!) – Due 2/4

Week 3 Monday, Feb 4th Group Critique –Daily Portraits and Chasing the Figure Sight Size Drawing and Advanced Still Life Set Up continued Review of Gesture, Blind Contour, Light and Shadow, Negative Space, Implied Ground Plane, Ellipses Repetitive Stress Assignment / 100 Drawings of the Same Object or Idea – Due 2/11 Wednesday, Feb 6th Model Drawing Session Gesture, Movement, Costume, Drapery Fabric and Formalwear: the garment without the body – Due 2/11

Week 4 Monday Feb 11th Group Critique – Repetitive Stress and Fabric and Formalwear Mini Bookbinding Workshop Journaling Discussion and Presentation on Daily and Book arts Copying Drawings / Masterworks (Imitation as well as observation in your journaling practice) Review Artist’s Books collection at the Hay Library (tentative) Building Vocabularies in your Journal, Dictionary of Marks, Gerhard Richter’s Atlas, Collage, Collection, and the Archive 1+1+1+1 The Multiple Assignment: Work in Series – Due 2/25 Wednesday Feb 13th Model Drawing Session Portrait, Detail Study, Feature Study Long Pose Model in Space, Narrative Setting Visual Dictionary Exercise – Due 2/25 Journal Check-in – Due 2/20

Week 5 Monday Feb 18th NO CLASS President’s Day – Long Weekend Wednesday Feb 20th Model Drawing Session Composition workshop Collaged composition exercises, the model in space Readings on composition – Centrality, Entropy, Balance and Weight in Drawing Journal Check-in Complete Visual Dictionary and 1+1+1+1 for 2/25

Week 6 Monday Feb 25th Group Critique – 1+1+1+1 and Visual Dictionary Color Theory Studies Expanded Color Dictionaries Studies in Gouache / Watercolor Readings on color Texture, Mark-making Complete all Exercises after class hours for 3/3

Wednesday Feb 27th Final Model Drawing Session Costume Unconventional Bodies Projection Experiment on Model Billboard Body Parts Assignment – Due 3/3

Week 7 Monday Mar 3rd Critique Billboard Body Parts, review Color Exercises Possible Extension of Color Studies Here Intensive Portraiture study in class – hairlines, drawing from memory, building from skeletal structure, feature study Classmates as Models / Recruiting your own models Hairstyle Assignment – Due 3/5 Wednesday Mar 5th Critique Hairstyle Assignment Multiple figure scenes using collaborative drawing format, you are your own models, you direct each other, narrative drawings Multi-figure Narrative Drawing –Due 3/10

Week 8 Monday Mar 10th Critique Multi-Figure Narrative Drawing Line Building form with line, crosshatching, and pure contour Line and Touch – different types of line and their connotations Automatic Drawing Line Weight Dictionary Due 3/12 Mark-Making Dictionary Due 3/12

Wednesday Mar 12th Critique Mark and Line Weight Dictionaries The Grid Wrapping Contours Exercise Transfer using the grid Organizing multiple related drawings / marks / narratives Warping the grid for visual affect Building and Exploding the Grid – Due 3/17

Week 9 Monday Mar 17th Critique Grid Works Using Optical Methods for Perspective and Model drawing Proportion / Foreshortening / Perspective Review (1 and 2 point perspective drawing) Unconventional Perspective Assignment: You are a mouse, you are a giant, aerial views – Due 3/31 Wednesday Mar 19th Torqued Perspective, using tools and rules to invent new types of compositions and spaces Optical Methods for Perspective Drawings Auxiliary Vanishing points, beyond 3pt perspective Box and Flaps plus Invented Perspective Drawing Exercises Prepare for Journal Check in Due 3/31 Suite of 4 Narrative Drawings – Due 3/31

Week 10 Monday Mar 24th NO CLASS SPRING BREAK Wednesday Mar 26th NO CLASS SPRING BREAK

Week 11 Monday Mar 31st Critique Unconventional Perspective Drawings and Narrative 4 Journal Check-in Found Drawings (including video drawing, photo drawing, overheard drawings etc) Line, Contour, Light and Shadow in everyday experience Interventionist drawing The Hunt for the Pre-existing Drawing Assignment – due 4/7 Wednesday Apr 2nd Collage Media and Transfer Methods Explored Transfer Methods – acrylic media and wintergreen oil as well as transfer paper, tracing, and projection History of Collage - Kurt Schwitters to Wangechi Mutu Collage Series Assignment – Building an Iconography with found imagery and a material response – Due 4/7

Week 12 Monday Apr 7th Critique Collages and Found Drawings Diagrams and Maps Pattern and Decoration Trills, Frames, and Decorative Dalliances - Due 4/14 Anmary Brown Soldier Collection at the Hay Library – Group Visit Tentatively Scheduled Wednesday Apr 9th Zoo Trip Tentatively Scheduled / Outdoor Drawing Animals in Motion Revisited Long pose Animal Study On Site Drawing/Painting Tips One Completed Animal Study Due 4/14

Week 13 Monday Apr 14th Critique Trills and Frames and Animal Drawings Collaborative Drawings Multiple Hands Exquisite Corpse and modifications Call and Answer Layers as Collaboration– Due 4/16 Wednesday Apr 16th Critique Collaborative Drawings Duration / Counting / Physical Limitations 24 Hour Drawing Assignment – due 4/21 Final Project Assigned – Drawing Series (TBA) Due 4/30 in class

Week 14 Monday Apr 21st Final Project Consultations / Work on Final Project in Class Wednesday Apr 23rd Work on Final Project in Class / Working crits as needed

Week 15 Monday Apr 28th Work on Final Project in Class Wednesday Apr 30th Final Group Critique

Week 16 Sunday May 4th Final Individual Meetings – optional early review time Monday May 5th Final Individual Meetings / Turn in all work from the semester for Review – these will run during our class hours Wednesday May 7th Make-up Final Individual Meetings (illness, exam or class conflicts)

VA 131 PAINTING I VISUAL ART DEPARTMENT BROWN UNIVERSITY FALL 2007 TUESDAY AND THURSDAY 1PM – 4:50PM LIST RM 510 INSTRUCTOR: KIRSTIN LAMB

EMAIL: [email protected] OR [email protected] Office Hours: Tuesday 5pm – 6pm Thursday 5pm – 6pm Office: List Rm 529 Office Phone: 401-863-3381

COURSE DESCRIPTION

This course is a guided inquiry into the mechanics of paint and concepts of painting. Basic skills and techniques will be covered, but a premium is placed upon the idea of studio investigation and self-determined discovery. In-class demonstration, critique, and slide lecture will reinforce the studio lab. Each week students will be assigned a new problem coupled with an explanatory slide lecture. Students are expected to research and develop each painting assignment with visual references and/or life study. Group or individual critique will follow the completion of each work.

COURSE OBJECTIVES

• Render in monochrome, gray scale, and color with greater competence and precision • Develop critique and editing skills • Gain a working knowledge of formal painting concepts such as under-painting, color mixing, impasto, grisaille, glazing, pouring, collage, and transfers • Craft an individuated relationship to subject matter and working praxis • Develop positive studio habits • Expand definitions of painting and build a wider knowledge of its history

COURSE REQUIREMENTS

• Completion of all in-class and homework assignments • Regular attendance in class • Participation in group critique and discussion • Readings to be assigned throughout the semester • Final Critique • Ambition in the scope of work devised and executed • Adherence to local and school standards of health and safety • 8 -10 hours of studio work weekly outside of class time (suggested minimum) • COLLECTION OF ALL WORK MADE IN THIS COURSE/STUDIO (save all class assignments, drawings, and extracurricular paintings to present in your final critique)

EPA POLICY

Students will be required to follow EPA guidelines and restrictions in the handling and disposal of paints, solvents, and rags. Gamblin, Utrecht, and Windsor and Newton brands of oil paint meet certified EPA levels of safety. Smoking and eating are not allowed in the studio or on the balconies. EPA regulations will be explained in depth at our first class meetings, including waste disposal procedures and storage of your paints and mediums in the classroom.

ATTENDANCE POLICY

Attendance at each class is mandatory. A studio class needs everyone’s presence to succeed! Missing classes can be harmful to the improvement of skill development, quality of output, and understanding of conceptual concerns related to this course. As assignments are presented each week with a slide lecture detailing historical precedents for each given problem, it is imperative that all students attend in order to get a sense of the variety of solutions possible for each given project. Lenience for absences due to extended illness, emergencies, and extremely unfortunate circumstances will be considered on an individual basis. Those with extracurricular travel schedules (such as varsity athletes) should provide me with an official schedule of these planned absences as early as possible in the semester.

ASSIGNMENT POLICY

If any weekly assignment should be deemed unsatisfactory or in need of improvement, extra time will be granted on an individual basis to rework the given painting, provided that class work continues uninterrupted. All late/reworked assignments must be collected for final review at the end of the semester. All work for this course must be completed before final critique.

GRADING POLICY

A = Exceptional effort on in-class and homework assignments, completion of all required work, marked improvement in painting skill and criticality from start to finish of course, regular attendance in class, habitual and positive participation in group critique and discussion, ambition in self-directed projects, flexibility in encountering new and unfamiliar projects and ideas, and positive contribution to the class environment and community. B = Sustained and constructive effort on in-class and on homework assignments, completion of all required work, improvement in painting skill and criticality, regular attendance in class, capable participation in group critique and discussion, full completion of self-directed projects, and positive contribution to class environment and community. C = Satisfactory effort on in-class and on homework assignments, lack of completion of a portion of the required class work, some class absences, some improvement in painting skills, marginal participation in class or participation that is not constructive in critique, lack of completion of self-directed work, marginal contribution to class community. NC = Unsatisfactory or marginal effort on in-class and on homework assignments, lack of completion of most required class work, lack of improvement in painting skills, an excess of class absences, no participation or negative participation in class and critique, negligible contribution to class community.

RECOMMENDED TEXTS

The Painter’s Handbook Mark Gottsegen The Artist’s Handbook of Materials and Techniques Ralph Mayer The Art of Arts: Rediscovering Painting Anita Albus History of Beauty Ed: Umberto Eco Historical Grammar of the Visual Arts Alois Riegl Philosophies of Art and Beauty Ed: Hofstadter and Kuhns Art In Theory (1900-1990, 1815-1900, 1648-1815) Ed: Harrison, Wood,Gaiger What Painting Is James Elkins Color: A Natural History of the Palette Victoria Finlay Bright Earth: Art and the Invention of Color Philip Ball The Daily Practice of Painting: Writings 1962-1993 Gerhard Richter The Mysteries of the Rectangle Siri Hustvedt

COURSE SCHEDULE

WEEK 1 Thursday September 6th: Introduction: Material List, Studio Space Assignments, and Health and Safety Regulations Discussed, Order/Buy Masonite Panels, Purchase Create-A-Color Wheel In Class Demonstration: How to Set up your Glass Palette and Properly Dispose of Waste in the Studio Assignment #1: Supplies Purchase, Studio Set Up for Tuesday Sept. 11th Create-A-Color Wheel hand painted color wheel for Tuesday Sept. 11th

WEEK 2 Tuesday Sept 11th: Create-A-Color Wheel Due Review of Health and Safety Information Create-A-Color Wheel Group Crit Assignment #2: 50 Little Paintings All paintings are to be completed on 8”x10” Masonite panels purchased from RISD Metcalf Store (ask for bundled packs for the Brown Painting I class: 10 panel bundles). Coat each panel with at least two thick layers of Acrylic Gesso, letting each layer dry completely before applying the next coat. Before or between coats paint at least one coat of gesso on the back of the panel to prevent warping. Please prime these panels as early as possible, as the preparations for all 50 will be time consuming. Painting assignments are as follows: 1-5: Monochrome (Sepia or Umber and Gamsol only) 6-10: Grayscale 11-15: Food 16-20: Interiors (domestic, industrial, classrooms, etc) 21-25: Zoom (zoom in on facial features, patterns, surfaces, organic matter) 26-30: Copies from artworks 1950 - present 31-35: Sunset / Storm / Horizon (landscape off the terrace or plein air outside) 36-40: Clothing / Costume / Textile (your choice) 41-45: Cartoons / Caricature 46-50: Life Study at the Nature Lab Turn in 10-15 paintings per class in the order specified below for the next three weeks. Individual meetings each class will track progress. All 50 Little Paintings are Due Sept 25th Thursday Sept 13th: Little Paintings 1-5, 6-10 Due Group Critique Work in class

WEEK 3 Tuesday Sept 18th: Little Paintings 11-15, 16-20, 21-25 Due Group Critique In Class Demo: Direct and Indirect Painting Techniques: Under-painting, Glazing, Alla Prima, Wet in Wet Work in class Thursday Sept. 20th: Little Paintings 26-30, 31-35 Due Short Nature Lab Excursion Tentatively Planned Individual Critiques In Class Demo: Direct and Indirect Painting Techniques Continued: Under-painting Revisited, Grisaille, and Palette Knife Work in class Sign up for Baby Painting Crit Groups for next week

WEEK 4 Tuesday Sept 25th: Baby Painting Critiques Split Group Critiques (Groups of 4 and 5 students) Group 1 and 2 Little Paintings 36-40, 41-45, 46-50 Due In Class Demo: Stretcher Building, Canvas Stretching, Priming, Rabbit Skin Glue, Gesso Work in class Thursday Sept. 27th: Baby Painting Critiques Continued Group 3 Assignment #3: Limited Palette Still Life Must be completed on a hand-made stretcher measuring at least 2’ x 2.5’ Slide Lecture: Giorgio Morandi, Wayne Theibaud, Jan Davidsz deHeem, Jan van Huysum, Rachel Ruysch, Will Cotton, Osias Beert, Juan Sanchez Cotan, Cezanne, Soutine, James Rosenquist, Pieter Aertsen, Philip Guston, Chardin, Georges Braque, Edouard Vuillard, Edward Hopper’s still life, Sophie Calle’s Chromatic Diet, and Dike Blair In Class Demo: Stretcher Building Canvas Priming: Rabbit Skin Glue and Acrylic Gesso Application and Sanding

WEEK 5 Tuesday October 2nd: Work on Limited Palette Still Life Thursday October 4th: Assignment #4: Polka Dots / Stripes Slide Lecture: Bridget Riley, Yayoi Kusama, James Sienna, Sigmar Polke, Alfred Jensen, Ross Bleckner, Karen Davie, Peter Halley, Jasper Johns (Flag), Roy Lichtenstein, Frank Stella, Sue Williams, Jules Olitski, Larry Poons, Morris Louis, Sarah Morris, John Baldessari, Vija Celmins, Howard Hodgkin, Chuck Close, Takeshi Murakami, Jennifer Bartlett, Stratton Cherouny, and Ellen Gallagher

WEEK 6 Tuesday October 9th: Critique Limited Palette Still Life (#3) Wednesday October 11th: Work on Polka Dots/ Stripes In Class Demo: Acrylic Painting Techniques and Options Special Topics: Taping and Masking, Underpainting with Acrylics, Pouring, Marbling

WEEK 7 Tuesday October 16th: Critique Polka Dots/Stripes (#4) Assignment #5: Red Painting In addition to this painting you will be required to gesso a sheet of watercolor paper measuring at least 18” x 20” and mix and chart 100 colors (reds) used to complete this painting. (Please see in class hand out.) Slide Lecture: Henri Matisse, Duccio, Barnett Newman, Mark Rothko, Janine Antoni, Gerhardt Richter, Andy Warhol, Barbara Kruger, Portia Munson, Phillip Guston, Robert Rauschenberg, Arturo Herrera, Cy Twombly, and Audrey Flack Wednesday October 18th: Work in class

WEEK 8 Tuesday October 23rd: Critique Red Painting (#5)Assignment #6: Clouds Slide Lecture: Caspar David Friedrich, Magritte, American Landscape Tradition, Albert Bierstadt, Thomas Cole, Fredrick Church, JMW Turner, Takeshi Murakami, Julie Mehretu, Robert Longo, Jackson Pollock, Adam Cvijanovic, Anselm Kiefer Thursday October 25th: Work in class

WEEK 9 Tuesday October 30th: Critique Clouds (#6) Assignment #7: Storytelling / Narrative Slide Lecture: What is Narrative?: narrative abstraction, figuration, installation and sculpture, Amy Sillman, Haim Steinbach, Joanne Todd, Leon Golub, Loren Holland, Hernan Bass, Andrea Lehman, fresco, mural, tapestry, Diego Rivera, Duccio, Giorgione, Hillary Harkness, Adam Cvijanovic, Alex Katz, narrative annihilation, painting from photography as narrative, narrative and whimsy, Royal Art Lodge, Julie Heffernan Thursday November 1st: Work in class In Class Demo: Acrylic Painting Options Revisited Topics: Collage, Transfer, Glazing in Acrylic

WEEK 10 Tuesday November 6th: Critique Storytelling (#7) Assignment #8: Appropriation Slide Lecture: Marcel Duchamp, Warhol, Manet (Titian), Picasso, Yasumasa Morimura, Kathleen Gilje, Jake and Dinos Chapman, John Currin (Lucas Cranach), Sherrie Levine (Walker Evans), Cindy Sherman Thursday November 8th: Work in class

WEEK 11 Tuesday November 13th: Critique Appropriation (#8) Assignment #9: Utopia / Dystopia / Maps and Diagrams Slide Lecture: Hieronymous Bosch, Martha Rosler, Lucas Cranach the Elder, John Clem Clarke, Thomas Cole, Edward Hicks, Henri Rousseau, Kerry James Marshall, David Thorpe, Gregory Crewdson, Franz Ackerman, Arcadia, David Humphrey, Alfred Jensen Thursday November 15th: Work in class

WEEK 13 Tuesday November 20th: Critique Cartoons / Caricature (#9) Assignment #10: Miniature Slide Lecture: Indian Mughal Courtly scenes, Rajastani Miniatures, Egg Tempera from the Middle Ages and Early Renaissance, Dioramas, Dollhouses, Hillary Harkness, Shazia Sikkhander, Amy Cutler, Martin Johnson Heade (Brazilian Forest Scene) Thursday November 22nd: NO CLASS THANKSGIVING RECESS

WEEK 14 Tuesday November 27th: Critique Miniatures (#10) Final Project Assignment #11: TBA Thursday November 29th: Work in class

WEEK 15 Tuesday December 4th: Work on Final Project / Research / In Class Consultations Thursday December 6th: Work on Final Project / Research / In Class Consultations

WEEK 16 READING PERIOD Sunday December 9th: Final Individual Reviews – optional earlier reviews Tuesday December 11th: Final Individual Reviews – AM 30 min reviews FINAL GROUP CRITIQUE TUESDAY DECEMBER 11th @ 1:30pm

PAINTING I EXAM WEEK STUDIO CLEAN UP DATES: TUESDAY DECEMBER 13th and TUESDAY DECEMBER 18th (your choice) REMOVE ALL WORK AND SUPPLIES FROM YOUR STUDIO SPACE BY DECEMBER 18TH All students are responsible for the repainting and cleaning of studio spaces at the end of the semester