LA MISSION COLLEGE Professor: Barbara Kerwin, Thursdays 5:50-10 pm. CAC 1; clean-up 9:40 pm Office CAI 221 or CAC 1: Office CAI 221 or CAC 1: M, T, Th 4:30--5:50, F. 2:10-3:30 Barbara@Barbarakerwin.com, 818 364-7735 ACRYLIC PAINTING II, Art 305 COURSE DESCRIPTION ART 305 MYTHOLOGIES, is designed to make the student think conceptually and creatively about a given idea. The choice of mythology may be interpreted as contemporary or classic and may be sourced from any culture. Myth is interpreted by the painter as a literal, metaphorical, conceptual, pop and finally with an approach to the sublime representation by utilizing and repeating the given or key idea(s) of the main myth.. COURSE OBJECTIVES Students will know how to explore a variety of techniques and problems related to acrylic painting, and will demonstrate an understanding of color and composition in acrylic painting. Advanced students will begin to make strides toward understanding their relationship to our time as demonstrated by the subject matter in their paintings. All students will demonstrate effective use of color theory. This course is designed to push the student s thinking outside of the box. CLASS PROCEEDURE Studio sessions will be accompanied by lectures, slides and demonstrations and discussions of readings. The teacher will confer with each student daily. Class discussions of assigned readings 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 a n 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 you have selected to work. EVALUATIONS AND GRADING A. Class attendance and participation is mandatory (you will be dropped after 3 absences). B. Solutions to class projects demonstrate an understanding of course content. C. Fulfillment of assignments on schedule. 20 points per painting. Deductions for missed classes, group discussions, progress points and/or critiques are subtracted from project point total/per assignment. D. Solutions which show evidence of initiative and a creative response to assignments, will be considered more advanced than those without this response. GRADES are determined at final class critique 100 points Possible. TEXT: Illustrated Encyclopedia of Traditional Symbols, JC Cooper, 1987. KERWIN 305 PACKET, LAMC Bookstore: READINGS: Strip Tease, Mythologies, by Roland Barthes, 1972. Man and His Symbols, Chapter on Symbols in Dreams, CG Jung, 1968. POP ART, Art Forum, 2006. The Catherine Box, conceptual work by Dan Geisler, Artists News, 1981. Beauty (Sublime), Agnes Martin, Writings
WEEK 1: ART 305: Mythologies Discuss what constitutes a myth. Bill Moyers Interview with mythologist Joseph Campbell, The Power Of Myth, The Hero With 1000 Faces Homework: Read Roland Barthes, Strip Tease, from MYTHOLOGIES. 1) Research information, in either the library or via the internet copy and bring to class second class meeting. 2) Select a myth (either contemporary or classic) 3) Make copies of the myth, one per person. Be prepared to discuss with the group. WEEK 2: WRITE Your Contract 1) Hand out to classmates and Professor, a copy of your myth 2) Discuss with classmates the key ideas of the myth 3) Identify: A) WHO is the hero of your myth? B) Describe the Journey the hero takes; WHAT happens? C) Locate WHERE and WHEN the myth takes place and describe the setting. D) Interpret the key points of the myth; elaborate upon the details and symbols that occur within the myth. E) WHAT IS THE OUTCOME? 4) Write key ideas with regards to the hero of the myth. Turn in to professor (This is your individual COURSE CONTRACT). WEEK 2-4: I. Begin Literal Painting 1) Sketch hero 2) place in key location of story 2) Paint onto the canvas in selected style. WEEK 5-7: II. Begin Metaphorical Painting Read: CG Jung: Man and His Symbols, Part I, Approaching the Unconscious. Chapter: The Role of Symbols, pp 83-90. 1) Find a symbol either in your myth's story, from your imagination, or from the Encyclopedia of Symbols, that substitutes for the hero and/or the action and key ideas in your myth. 2) Paint the symbol into a new composition. WEEK 8-10: III. Begin POP Painting ** You must bring an item from the 99 Cent Store, which represents your myth in today s mass-produced culture. Read: POP ART, Art Forum, Thomas Crow article, October, 2004 XLIII, # 2. Andy Warhol, Robert Rauschenberg, Alan Rupersberg, and others. 1) Pop Art incorporates the current vernacular. Share the item you selected from a 99 cent store that represents your myth today. Assess and describe how the object fits thematically with your mythological series. WHAT IS POP TODAY? 2) Also, look for information in today's popular sources i.e. news & Internet. 3) Sketch ideas for composition. 4) Paint composition.
WEEK 11, 12, 13: IV. Begin Sublime Painting Read: Agnes Martin, Beauty and the Sublime (Speech), Writiings/Schriften. Without using words or imagery--utilize the concept of the "sublime"-- beyond beauty--to create your final painting in the Mythologies. 1) non-objective only 2) color 3) texture 4) communicate feeling of mythical idea. Agnes Martin, J.M. Turner, John McGlaughlin, Gerhard Richter and more. WEEK 16: FINAL WEEK 14,15: V Begin Conceptual Painting Read: The Catherine Box, original Conceptual Work, Dan Geisler, Artists News, 1981. Barbara Kruger, John Baldessari, and more. Conceptual Art requires the viewer to complete the painting by thinking. Design a composition that applies conceptual ideas to your myth. 1) The viewer will need to be prompted to complete the painting or work in their imaginations by your provoking their thought. 2) Sketch ideas, words 3) Refine and select best idea. 4) Create new painting with the best idea. WEEK 16: FINAL! Bring all 5 Myth Interpretive Paintings to Final for Group Critique. SUPPLIES: 5 PAINTING SUPPORTS. YOUR CHOICE OF SIZE AND FORM. PAINT BRUSHES RESEARCH PHOTOGRAPHS, ETC. 5 READINGS Encyclopedia of Symbols, Textbook.
PAINTING II: 305 KERWIN -- Mythologies
Los Angeles Mission College Drawing and Painting SLOs Students earning an Associate Degree in Art will: Discipline Learning Outcomes 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 305 SLOs: 1. Demonstrate the ability to comprehend a major concept by deconstructing a given theme and synthesize it into different movements of contemporary art. 2. Create a series of paintings which demonstrate an interpretation of "Key Ideas in Human Thought".