Chelsea pics& names

Chuck close @ pace

Pat Steir @ cheim & read

Ross Bleckner

Sharon Hayes @ Andrea rosen

Rene Daniels @ metro pictures

Hmm... Can't remember. 

@ luhring Augustine

Cindy Sherman @ Robert miller

Dina! With Michel majerus @ Matthew marks

Lauren silva @ zieher smith

Not pictured: Kiki smith @ pace 

Jordan wolfson @ David zwirner

Tomma Abts abstraction

She paints extremely flat, opaque, planes of color yet is able to create such a multidimensional, overlapping effect. Really neat!

Joan Mitchell -- images related to "A Rage To Paint" by Linda Nochlin

 Joan Mitchell

 Canova--Ercole & Lica

 Willem DeKooning Woman, 1949

 Willem DeKooning Woman, 1949

Jackson Pollack by Hans Namuth

Joan Mitchell, installation

Joan Mitchell, 1961

"Little Weeds II"

Joan Mitchell, To the Harbormaster

Bedford Series

Model in front of Pollack

Joan Mitchell by Rudy Burckhardt

Palette shot

WEEK 5: self-directed 3 week projects

Come to class next week ready to present your proposal for your 3-week project. You should also have a painting completed (or at least very-well underway) to share with the group. Your project should be comprised of a group of 3-5 paintings, conceptually or thematically linked. The 2nd half of class next week will be a studio session, so please be prepared to paint. I will also schedule a figure model for those of you that would like to incorporate life painting into your projects. If you have any questions regarding your project ideas please be in touch.

Also: read "The Wise Old Man and the Young Giantesses" Gilles Neret on Henri Matisse

Go to Barnard library and check out art books that you are interested in and bring them to class.

LIAM GILLICK–ASSIGNMENTS ARE HOMEWORK

Assignments are homework. They remove the responsibility from the cultural producer to devise their own context, and create an artificial power relationship to replace the real power relationship between student‐artist and older ex‐student‐teacher‐artist. The assignment replaces the potential for real work and real recognition of power dynamics. The assignment allows the student to avoid taking responsibility for his or her own critical awareness and replaces that with a set of directed “potentials” that are actually rehearsals for future instructions from various powers, i.e. galleries, institutions, and various “clients,” all of which are in direct conflict with the potential of art. Therefore I do not give assignments, I don’t acknowledge work done as an assignment, and I don’t find them funny. 

POSTED NOVEMBER 20, 2013 TO NON ASSIGNMENT

0 COMMENTS 1 NOTES

MICHELLE GRABNER–NO ASSIGNMENT: THE MEDIUM OF INDIRECT TEACHING

Only dead fish follow the stream.

—Finnish expression

The most effective and trustworthy “assignment” I have honed over my twenty years of teaching studio arts is simply: NO ASSIGNMENT as a form of indirect teaching.

A “no assignment” method does not guarantee a Socratic debate, yet it does cultivate critical thinking while eschewing the authority of the teacher and rebuffing the pedagogical misadventure of assessment outcomes.

Critically, indirect teaching emphasizes the weight of work, supporting self-directed knowledge that is shaped by the limits and freedoms of the student and the institution. Work and assessment are the responsibility of the student.

Week 4: FIVE STUDIES

Again, building off of one of your daily observations in your sketchbook, make 5 small compositional and material studies of the same subject for a painting. Feel free to paint FROM the object/scene if you desire, or to DIVERT from it -- whichever mode you prefer. The sizes of your studies should vary between 9"x12" or 16" x 20" and you should experiment with a variety of surfaces-- cardboard, wood, paper, canvas, etc. At least 1 study should employ the collage technique from class, and at least 1 should demonstrate an understanding of relative value and tone. 2 of your studies should be 2nd generation iterations of your subject, i.e. studies of a study... so for instance, your 4th and 5th studies should build off your previous versions. Your work should also demonstrate a variety of experiments in composition, mark-making, and degrees of abstraction. Prepare a painting surface for our next class and we will use this to execute a painting from your studies in class.