DRAWING 616 001
Imagination/Observation
June 6-June 12, 2010
1 credit hour
Instructor: Karl Wirsum
This multi-level drawing course will transcend the traditional approach to landscape drawing. Students will be encouraged to mine the possibilities of nature's realm through observation and imagination. While there will not be overall class assignments, the Instructor will help each student's individual exploration through discussion and daily in depth one on one critiques touching on technique, subject matter, and color. Students can explore drawing through a variety of non-toxic media, including pencils, colored pencils, oil pastels, watercolors and gouache.
DRAWING 617 001/ARTH 621 001
History and Practice of the Confessional Comic
June 6-June 19, 2010
3 credit hours
Instructor: Michael Bonesteel and Nicole Hollander
Sessions each day will be devoted to a certain topic within the realm of the confessional comic genre, either autobiographical or fictional. Some sample topics: “I Woke Up Screaming”; “And Then the Floor Gave Way”; “My Mother Married a Werewolf and I Was the Best Man/Maid of Honor”; “Oh So This is Hell? I Expected Something Rather More Elaborate.” Morning sessions will explore the art historical context of that day’s topic — through lectures and discussions of graphic novels or comic books that have delved into the subject. Afternoon sessions will be studio classes in which students will create a three-page, black-and-white comic book story on that day’s topic. The last two days will involve creating a finished comic book story in color based upon the student’s most promising previous comic. Please note this class may be taken for either studio or Art History credit.
DRAWING 602 001
Drawing the Figure in the Landscape
June 13-June 19, 2010
1 credit hour
Instructor: Marion Kryczka
$50 Lab Fee
Using a variety of color media and drawing materials, students will work from observation of the figure in the natural dunes landscape. In addition to addressing formal issues, the course will use the figure and the landscape to develop pictorial metaphors regarding the human and nature.
PAINTING 627 001
Multilevel Painting: Outside/Inside
June 20-July 3, 2010
3 credit hours
Instructor: Jason Karolak and James Kao
This course aims to help students find a personal painting language through the negotiation of external and internal impulses. The title of the course, Outside/Inside, suggests that the origins of one ís personal language draws upon both one's inner mind as well as one's experiences in the world. Outside/Inside also refers to a literal way of working: in the studio and out-of-doors. To this end, students will engage the landscape that envelops Ox-Bow as well as work independently in the painting studio. Through this framework, students will investigate relationships between representation and abstraction. This relationship begins with seeing abstractly to make realistic pictures and extends to making marks that express reality. Studio work will be supplemented by slide lectures and individual and group critiques.
PAINTING 615 001
Egg Tempera
July 11-July 17, 2010
1 credit hour
Instructor: Rebecca Shore
$50 Lab Fee
This course focuses on the development of technical knowledge and skills in egg tempera painting. Egg Tempera, which is an artist made, water based medium, offers possibilities of translucent layering, loose or fine brushwork, incising, scraping, and beautiful surface quality. The preparation of panels, grounds, pigments, egg binder, and the application of paint, along with the relationship of the particular qualities of egg tempera with imagery development will be emphasized.
PAINTING 628 001
Expanded Painting/Expanded Sculpture
July 18-July 31, 2010
3 credit hours
Instructor: Jose Lerma and Mark Schubert
$50 Lab Fee
Defined in part by Krauss’ 1979 text “Sculpture in the Expanded Field” the practice of expanded painting has historical antecedents going back as far as the Merzbau, synthetic cubisim, the Wagnerian Gesamtkunstwerke and even cave painting. From fully immersive environments, to a simple collage to something as basic as the use of a photographic source, a great deal of painting today can be said to bear some relation to the expanded field. While the practice often involves the ambitious use of materials and a dynamic formalism, it can also allow for the use of conceptually loaded, unorthodox supports, which effectively comment and reflect on the history of painting. While this two-week intensive course will focus on painting on a variety of sculptural supports, it is not limited to sculpture, as other media, such as video, photography, digital technology, performance, can be incorporated into projects. The course will be taught in conjunction with sculptor and fabricator Mark Schubert and it is designed to revolve around the student’s ideas and interests. There will be demonstrations on techniques and short slide lectures on a daily basis. These will involve for example, basic casting, welding, solvent painting in short, techniques that allow for the interplay of media. The rest of the time will be devoted to working one on one with student to assist them in the realization of a series of projects, and in conceptual development.
PAINTING 629 001
From Surface to Space: Reading the Context of Paint
August 1-August 14, 2010
3 credit hours
Instructor: Kevin Appel
This multi level course is designed to expand students command of both craft and content through individually developed painting projects. The course is geared toward developing your painting practice as an artist beyond the classroom environment. Discussion will center on how your choices of format, materials, image and contextual alignment all inform the reading of your work. Painting is actualized through a free or creative relationship to pictorial space and the historical context in which it is produced. The literal space of the canvas support acts as a field in which the issues pertaining to the armature of the medium are played out along side the imagery of the chosen subject. From deep space to the abstract surface of the support itself, space becomes the cue as to how the picture is interpreted. Issues of transport, duration, and plausibility are acted out as a methodology for understanding the position of the painting. The course will include extensive experimentation with techniques and imagery through individual painting problems. All mediums are accepted and experimentation with formal and material options as part of the painting process in relation to form and meaning will be stressed. Students will pursue various interests in subject matter around the issues of space and facture. Lectures and critiques will be included.
PAINTING 630 001
Watercolor, Gouache and Pastel.
August 15-August 21, 2010
1 credit hour
Instructor: Tony Phillips and Judith Raphael
Waterbased paint and dry material will be used separately and together to open up possibilities for artists wishing to pursue new ways to expand a familiar medium. Source materials to be chosen by the student. Subject matter is anything that they can see or imagine: abstract or figurative, based on the world of nature, personal photos or images derived from the internet or other resources.