Arts 505: Graduate Painting and Drawing
Seminar
Arts 429: Topics Painter and Critic
Instructor: Raychael Stine, Assistant
Professor
University of New Mexico
Department of Art
Year: Spring 2017
505
Sec: 001 CRN:38106 429 Sec: 005 CRN:37292
Location(s): 344/off campus/Mattox/Annex
Time: 1:00 to 3:45 M + W
Office Hours: Mon + Wed 8:15-9:15 Office
246 and by appointment
David
Humphrey, Twin Pups, 2003, Acrylic on canvas, 44 x 54 in
“I
try to make paintings that look very conventional, which fail to be normal, but
you can’t tell why. And maybe their conventionality is trembling at the edge of
breaking down or swerving in some unexpected direction. I like inhabiting that
position within a theater of roles.”
“I
think may be this question: how does abstraction and representation mix in my
painting? It is a desire to create a kind of narrative of the depiction coming
into being.” – David Humphrey
Course description:
This Grad P and D
seminar’s primary structure lies on a foundation made up of critique, and “show
and tell”. Over the first portion of the semester, we will participate in group
critiques and studio visits, discussions, and field trips. We will be actively
discussing our own studio work, motivations, methods, material, conceptual,
ideological/intuitive approaches to painting and practice, while exploring some
of the motivations of select historical and contemporary painters. We will only meet on Wednesdays. During the second part of the semester, “Show
and tell”, students will be required to host ½ to 1 whole class. If need be, Mondays can be made availible for special projects. For this
portion of the class, students lead the class by offering us something
meaningful to them in regard to their painting practice and the arts- this can
be through demos, experiences, field trips, readings, discussions,
presentations, explorations- etc. This must be participatory in some way, facilitate
some kind of discussion, a be well considered.
There is a very loose frame
to the class where we will consider some contemporary/modern painters responses
to, and engagements with, New Mexico, and exploring our own experiences and
possibilities within that context. This course is cross listed for select upper
level undergrads as “Painter and Critic”- It is very productive to join the
most promising of our painting community together so that our conversations and
connections can be varied, broadened and advanced. In this course we will
consider what being critical and what being a “critic” means, or how that
looks, when we are painters and artists. We will be reading and looking at
artists/painters responding to other artists works, through writing or making,
and we will be reading some topical critical essays exploring contemporary
painting issues and exhibitions written by a few of today’s most interesting
art critics. We will visit museums,
studios, and galleries in person, locally, and online, through digital
documentation, institutional websites, blogs, YouTube and other venues. Possible discussions about
professional/studio/and life after grad school will round out the course
Blogs/Texts/Media:
The class blog is:
Class info, updates,
readings, vids, links, topical trajectories, and other things will be on this
blog. It is not listed online so you will have to save the link and go to it
directly. Please check it often. In as many cases possible I will have readings
printed for you or they will be on the blog. Please print readings, or take
hand written notes down about the readings to access during discussions. There
is also the possibility of posting things you are interested in
discussing/showing/exploring/seeing on the blog, in which case I will make
everyone authors.
Additionally, I
suggest you bookmark and peruse some of the best painting focused contemporary
art blogs and writings online, as this type of aggregator is our primary means of
seeing what is happening within the field right now. I really like Painters Table, two coats of paint, hyperallergic, Bomb, Artspace, Gorky's granddaughter... Here is an excellent list:
Field Trips:
We will be visiting
a number of off campus locations in Albuquerque and Santa Fe. We will be
responsible for our own transportation. Ride sharing in encouraged and I am
happy to bring 3 people with me at any time. Most field trip class start times
will be later to compensate for travel time and distance. These field trip
dates are on the weekly calendar. It is understood that some of you have class
prior and right after this seminar and timing accommodations will be given to
get where we need to go and to get back.
Grading:
Full participation
in all critiques as artists as well as visitor/critics, discussions,
readings/media, Field trips, general attendance and punctuality, and other
expectations listed below is required to receive full credit in this class.
Expectations:
1. You are expected to have an active, rigorous
studio ethic. Maximize your studio time. My suggestion is a minimum of 20 hours
per week.
2. You are expected to come to class and arrive
on time. Class is from 1-3:45 Wednesdays. Monday’s are left open to Maximize
that studio time, and as a slot for you to consider things we have going on in
seminar and allow those things to enter your work in whatever way that happens.
3. You are expected to have an active research
life- online and in print and in person, outside of the things we discuss in
class, and you are encouraged to bring those things(in your head, in person, on
paper, in print, online- whatever) to studio visits/ discussions.
4. You are expected to find something you are
excited and compelled to respond to over the course of this seminar. Your
response can be through your studio work/a material/visual/making response, it
can be a piece of critical writing, it can be some kind of poetic response, or
another kind of response you imagine. My hope is that you will choose/find
something to respond to that has something to do with being where we are,
something that is, or becomes, or has the potential to be, meaningful to you
and your work. This could be another artists work, cultural objects, places,
experiences, stories etc.
5. You are expected to be prepared for studio
visits in whatever way is most effective: curating your studio/ showing
process/ editing/ writing questions/thoughts, bringing essays/show and tell to
discuss: your studio visit time is your time, please have an idea about how you
want it.
6. You are expected to talk about and share
things you are interested in (in the studio and outside of it- because these
things are actually not separate), raise questions, share
excitements/accomplishments/anxieties, share failures/dunders/stuckness, share
concerns/fears/joys/vulnerabilities, constructive criticism, support, have an
open mind, honestly and clearly communicate, show empathy and interest, and to
listen to each other. This is your crew. These are your people. These are your
peers. It has been said the most interesting and successful artists make their
work for/in response to/under the wing of/ 5 or 6 people in their lives or
less, and that’s it. That’s where the good stuff happens. It is quite possible
you are next to a life long friend, right now. Come together with that in mind.
Library info:
(The Main Library
has significant holdings that will support our work in this course. Under the Library of Congress call numbering
system, all books on the subject of drawing or works on paper are listed with
call numbers that begin with NC. In addition, monographs on individual
sculptors [NB] and painters [ND] present drawings in relation to
other work by that artist. Books that
begin with call number N also may
include graphic works by country, by period or by artist. You can go directly
to the stacks and scan the shelves under these call numbers; there are also
sections for oversize books using the same call number reference system. FAL
also has special collection holdings you can check out as well as a variety of
periodicals and other media.
****The library is awesome!!****
Reminders/emails:
Expect reminders via email as well as info on
the blog. Please always reply to emails so that I know you received and read
the email. Always keep up with the online classroom.
Academic
Integrity:
Students at UNM enjoy significant freedom of artistic expression
and are encouraged to stretch their scholarly and artistic boundaries. However,
the school prohibits all forms of
academic dishonesty. For present purposes “ academic
dishonesty” is understood as the appropriation and representation of another’s
work as one’s own, whether such appropriation includes all or part of the
other’s work or whether it comprises all or part of what is represented as
one’s own work (plagiarism). Appropriate citation avoids this sort of
dishonesty. In addition, “ academic dishonesty” includes cheating in any form,
the
falsification of academic documents or the falsification of
works or references for use in class or other academic circumstances. When such
dishonesty is discovered, the consequences to the student can be severe.
ADA
Compliance:
In accordance with University Policy 2310 and the Americans
with Disabilities Act, academic accommodations may be made for any student who
notifies their instructor of the need for assistance. It is important that the
student bring any such issues to the
attention of the instructor, as they are not legally
permitted to inquire. If a student requires assistance in an emergency
situation, they should inform the instructor as to the
most appropriate procedures to follow. Contact the
Accessibility Resource Center for additional information (277-3506).
Title IX
In an effort to meet obligations
under Title IX, UNM faculty, Teaching Assistants, and Graduate Assistants are
considered “responsible employees” by the Department of Education (see pg 15
- http://www2.ed.gov/about/offices/list/ocr/docs/qa-201404-title-ix.pdf).
This designation requires that any report of gender discrimination
which includes sexual harassment, sexual misconduct and sexual violence made to
a faculty member, TA, or GA must be reported to the Title IX Coordinator at the
Office of Equal Opportunity (oeo.unm.edu). For more information on the campus
policy regarding sexual misconduct, see:https://policy.unm.edu/university-policies/2000/2740.html
Grad P and D Semester schedule:
(Subject to change typically but minor due to a variety of possible circumstances- including adding events/exhibitions talks etc- detailing specific locations for show and tell in the second part of semester, + etc)
First section of class through Spring Break: studio visits/ critiques/ Discussions/ Field trips
Week 1
M/ MLK day
W Jan 18th : ABQ museum tour
Week 2
M/
W January 25th General class info/ video/ discussion
ABQ Museum, Carol Bove/ artist in time of trump
Week 3
M/
W: Feb 1st
W: Feb 1st
30 – 45 min Studio visit 1____________
30 – 45 min Studio visit 2____________
30 – 45- 60 min Discussion:
Events: Feb 4
Grad Juried Show Opens 516
Karsten Creightney at 516
Cedra Wood at Central Features
Week 4
M/
W Feb 8th
30 – 45 min Studio Visit 3___________
30 – 45 min Studio Visit 4___________
30 – 45 – 60 min Discussion:
Undergrad art event Thursday the 9th
Week 5
M/
M/
W Feb 15th
30 – 45 min Studio visit 5________
30 – 45 min Studio visit 6_________
30 – 45- 60 min Discussion:
Allison Miller Artist Talk
Week 6
M/
W Feb 22: Field Trip: Larry Bob Phillips Studio visit / Discussion
Week 7
M/
W March 1st
30 – 45 min Studio Visit 7_________
30 – 45 min Studio Visit 8__________
30 - 45 min Studio Visit 9___________
Events: March 3rd, Cedra Wood talk at CF 5:30
Week 8 Mid Term
M March 6: Field trip: Petroglyphs / discussion
W March NO CLASS- I am in Houston for a show
Events: March 11 Women Artists Speak Out at 516
Week 9
M SPRING BREAK
W SPRING BREAK
Events: March 14- Pussy Riot at 516
Second Portion of class through May 3rd: Show and Tell / discussions / field trips- At this point, special Show and Tell can also be planned for a Monday if it is a more complex trip/project/experience.
Week 10
M/
W March 22:
Show and Tell 1________
Show and Tell 2_________
Discussion:
Week 11
M/
W March 29
Show and Tell 3________
Show and Tell 4________
Show and Tell 3________
Show and Tell 4________
Week 12 REVIEWS
M Whatever you want to prepare for reviews? (Statements? What to show? Progress from first reviews?)
W April 5th
Events: April 7th Ed’s MFA show reception
Week 13
M/
W April 12th: Field trip: Return to Folk Art Museum / Discussion
Week 14
Week 14
M/
W April 19th
Show and Tell 5_________
Show and tell 6_________
Discussion:
Events: April 22 Earl’s MFA show reception
Week 15
M/
W April 26th
Show and tell 7_________
Show and tell 8_________
Discussion
Events: Arts Unexpected April 28
Week 16
M Possible Field Trip: San Filipe Pueblo
W May 3rd
30 – 45 min Show and tell 9______________
Discussion:
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