ACRYLIC PAINTING III, Art 306 SOLO SERIES

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1 LA MISSION COLLEGE Professor Barbara Kerwin, Thursday 5:50-10 pm, CAC 1, Clean-up 9:40 pm! Office CAI 221 or CAC1: Hrs Office CAI 221 or CAC 1: M, T, Th 4:30--5:50, F. 2:10-3: ACRYLIC PAINTING III, Art 306 SOLO SERIES ART 306 SOLO SERIES, has the student creating an original, skillful, cohesive body of work based upon personal ideas, a chosen theme from the presentation, and incorporating the prior semester s information. The student shall demonstrate composition and color sensibility throughout the series. The student is required to document with digital images the FINAL five paintings. An artist statement about the work is required at the start of class and its refinement is due prior to the final. COURSE OBJECTIVES Emphasis is on developing a cohesive body of work utilizing the student s own creative response to series work. Students will know a variety of techniques and problems related to acrylic painting and will demonstrate an understanding of color and composition in acrylic painting. CLASS PROCEEDURE Studio lab sessions are accompanied by a teacher conference with each student, to assess progress. Class discussions and critiques of completed works and works in progress will assist students in evaluating their own work and in communication of their observations of classmates' work in an effective manner. DISABLED STUDENTS: There are no concessions made for disabled students unless arranged through the Center for Students with Disabilities. FIELD TRIP: Will be assigned to expose the painting student to important exhibitions in the area, and encourage a contemporary dialogue within the class experience. TBA. Compare and Contrast two paintings in the style in which you have selected to work. EVALUATIONS AND GRADING A. Class attendance and participation is mandatory (you will be dropped after 3 absences). B. Contract, Refined Artist s Statement, and a Venue for Exhibition are required at end of course. C. Fulfillment of assignments on schedule. Students must complete 5 paintings minimum per term; each painting worth 5 pts per week/ 20 points per painting. D. Solutions which show evidence of initiative and a creative response to chosen theme will be considered more advanced than those without this response. E. Artists Statement. F. Digital images of all 5 paintings in the series due at final. G. GRADES are determined at a final class critique. 15 pts/painting. 15 pts/1 progress point per lab/week 5 pts/ Contract, Refined Statement, & Venue to exhibit 5 pts/ critiques on time 100 points possible. REQUIRED TEXT: Kerwin, Barbara. Drawing From the Inside Out, Advanced.

2 KERWIN WEEK 1: Solo Series & Presentation A. Select a theme for your series of 5 paintings by perusing the range of projects in the DRAWING FROM THE INSIDE OUT, Creative Portfolio text. Consider ideas garnered from the prior painting courses and your personal interests. B. Write an Artist s Statement/Contract (refined and turned in after the third painting). 1) Indicate a style you will work in: Abstract Expressionism, Hard-Edge, Surrealistic, Realistic, Cartoon, Sublime, Collage, Graffiti, Conceptual, etc. 2) What do these ideas interest you? Explain. 3) Describe the size and format for each painting you plan to make. HOMEWORK: For next week, bring in one item off the internet that relates to your series. Develop your initial statement, which is the course contract. WEEK 2: COLABORATIVE Discussion & Interpretive PRESENTATION 1) Assemble as group of 306 students. Discuss Internet item ideas articulately. Tell about your theme and why you selected it. 2) Write your brief statement/course CONTRACT of what your series is about. State what style it will be created in and what the size the paintings will be. 3) Share/Read each other s brief statements highlighting the theme for your series. Turn in contract. 4) Begin first painting of series. This first in series shows the main theme--which you will discuss at the presentation critique. WEEK 3-15: DEVELOP YOUR SERIES. Finish one painting every three weeks; work at a steady pace. Critique Week 4 discuss your main theme as exhibited in first painting. Painting 2 Use a embellished technique, such as gel medium or collage, or texture. Critique Week 7 discuss the surface quality change in the painting media. Painting 3 Select a specific, yet different color scheme than used in #1 or #2. Critique Week 10 Discuss the color scheme, why you chose this and it s impact. Painting 4 Create a pattern using the idea of repetition or overlap for your series. Critique Week 13 How did the pattern work with your theme? --Revise Your Statement, turn in to Professor Kerwin-- Painting 5 Limit your palette to any two colors plus black and white. Critique Week 16 Final Presentation. Week 4, 7, 10, 13: CRITIQUE with other 306 students. 5 group critiques total 5 points. Week 13: Refined Statement due. Must match the paintings 1-4. WEEK 14: Research opportunities to show this series locally or in an event. WEEK 16: FINAL 306 SOLO SERIES Bring 5 pieces, statement & presentation. Turn in digital images.

3 Sample statement: BARBARA Ruth Bachofner Gallery 2525 Michigan G-2, Bergamot Station, Santa Monica, CA February 22-March 29,2003 Reception Feb 22, 2003, 4-6 pm Barbara Kerwin: SEQUENCE. New Paintings, a Press Release One+one-1+One-2, with U0=1 and U1=1 1, 1, 2, 3, 5, 8, 13, 21 In mathematics, sequences are fun to spot and play with. This one has proven to create a perfect proportion between rectangles which inspires beauty in Minimal architecture. But the same proportion Fibonacci noticed in the 13 th century, corresponds to the spiral of a seashell, seeds of a sunflower, and Da Vinci later noticed its relation to the human body and the spiral sequence of the human skull. This sequence, earlier called the Arab Notation or Golden Section (with perhaps Hindu roots), has long fascinated man with its elegance. Like the physiological response that gorgeously colored and patterned deep-sea fish have to one another in an environment absent of light why is there beauty built into the fish with out light s color scheme? The curiosity produced by the naturally occurring Fibonacci phenomena remains seductive to me. How is beauty perceived? Does the brain recognize order in a peculiar way? In this series, Sequence, I ve dwelled upon the relationship within each rectangle and square. I ve sat deeply with the colors I mix as I make my own oil in high-melt wax paint. I ve struggled with the fact I use oil in high-melt waxes, as it is the most uncontrollable (nature) of mediums. The homemade pigment makes a variance of hue by the necessary 50 layers of millimeter thin color applications. In this work, the geometric (architecture/culture) ground requires unity to the number and color of squares within it. The container may seem to question what is more important, the oozing nature of frozen oil in wax, or the crispness of its geometric shapes? There is no clear answer in my work, as both containment and disorder need the other to accomplish this tactile, mathematical exploration. This paradox is part of discovery in the series, Sequence. The sequence itself is a teacher. I ponder each integer and its possible relationships to the enclosing square. For instance: One is incredibly stable in a central location, as Joseph Albers used it in his Homage to the Square series. As the number of integers (squares) grow in proportion to its static 30 x 30 container, the space the integers occupy become more and more dynamic. Color and the surrounding ground are the only composing factors. As two arrived from one + one, I was surprised to find it so unstable. Romantically, I d always loved two its teeter-totter quality. Studying archaic writings about two, it must always yield a third to triangulate in order to create stability. Three, the number of the Trinity, the triangle and minimum number of contacts needed to pull a line in and out into compositional unity, relates to how a couple creates common work or goal to balance their intimacy. Five for me is easy. At my first solo show (The Grid), a collector who had purchased a grid comprised of 5 rows of 5 squares asked me what the number meant? I responded that it was used intuitively. He pushed me to study it, which revealed it to be the favored number of the Goddess Venus and is associated with creativity. Personally, I am the 5 th child and 5 th daughter of my father and one of five daughters to my mother. And so it goes. --Barbara Kerwin, 2003

4 PAINTING III: 306 (KERWIN) Solo Series

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6 Los Angeles Mission College Drawing and Painting SLOs Discipline Learning Outcomes Students earning an Associate Degree in Art will: 1) create works of art and design using problem solving methodologies and intuitive processes. 2) apply the elements and principles of design with competent skill and technique with two and three dimensional media, including technology. 3) use discipline specific terminology in oral and written communication. 4) demonstrate aesthetic responsiveness by taking a position on and communicating the merits of specific works of art and how those works of art reflect human values within historical, cultural, political, and philosophical contexts. Students earning an Associates Degree in Drawing & Painting will (all of the above AND): 5) demonstrate proficiency in rendering objects in perspective. 6) show competence drawing the human form. Students earning an Associates Degree in Painting will (all of the above) AND 5) apply color theory in a variety of historical styles. 6) develop a personal dialog in painting demonstrated by a cohesive group of 5 original paintings. ART 306, Acrylic Painting III SLO: 1) Students will create an original series of paintings in thier own style, demonstrating a cohesive theme. 2) Students will develop an artist statement about their intent and process in relation to the painting series produced as part of the class.

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