Experimental Directions in Painting - STDO 3680 T04
3 Credit Hours
3 Credit Hours
Office for Derek
Brueckner: 337 ART LAB 204 474-9549 (no voicemail)
Office hours and times available for student consultation: Tuesdays after class
Course schedule: 4:00 pm - 6:50 pm Tuesday Art Lab 464
Tuesday Sep 11, 2012 to Tuesday
Dec 4, 2012
Minimum of hours
of out-of-class work expected: 6 hours per week
Course Description
Courses will provide
opportunities for skill building, conceptual development and depth on topics of
interest in relation to experimental directions in painting.
Specifically
students are introduced to and encouraged to explore both traditional methods
and contemporary approaches and ideas to painting. Media such as oil, acrylic,
wax or water-based paint as well as digital and other electronic media may be
incorporated into assignments and projects. As well, assemblage and
installation projects may incorporate wood, metal, resins, and other
materials.
Aesthetic theory and criticism form a basis for creative thinking
and problem-solving, as personal, expressive, and conceptual concerns are
related to historical and contemporary perspectives. Formal language, degrees
of abstraction, colour theory, and professional practice are among the special
knowledge and skills taught.
Course
Objectives/Outcomes
The purpose of this course is to
investigate a broad range of materials and painting methods (both historical
and contemporary) in terms of current ideas, experimentation and metaphors.
In addition to
the daily process of painting as a flexible studio practice, this course’s
structure allows for individual and class discussions (individual and group
critiques) that assist in forming the direction of the studio work. As well the
ongoing dialogue between the instructor, the individual student, and the class
is developed to create a sense of community. This course will facilitate
students to develop independent projects in preparation for future honours work
as fourth year students and or as independent artists involved with
contemporary ideas and painting. Through discussions, research and practice it
is hoped that students will expand their skills to address problems of
interpretation, methods of representation, materials, scale, historical and
contemporary aesthetic issues, etc., and will provide the opportunity for
dialogue concerning the conceptual basis of the work (metaphorical content). Ultimately
this course will strive to expand and synthesize the knowledge of materials with
metaphorical ideas.
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Experimental
Directions in Painting - STDO 3680
Instructor: Derek Brueckner
Instructor: Derek Brueckner
Course
Structure and Instructional Methods
Teaching methods involve classroom and
tutorial approaches with considerable one-on-one interaction, as well there will
be group critiques (see section on group critiques) and potential field trips
to galleries. Data projector presentations, software
demonstrations and field trips may be scheduled periodically to enhance the
above concerns. Note taking will be required during presentations, group
critiques and discussions with instructor.
In addition to the daily
process of painting as a flexible studio practice, this course’s structure
allows for individual and class discussions (individual and group critiques)
that assist in forming the direction of the studio work. As well the ongoing
dialogue between the instructor, the individual student, and the class is
developed to create a sense of community.
This course will be split into 2 half sections
during the term. Each half section will require: project proposals from each
individual student, attendance of all classes and group critiques. At the end
of each half section a submission of all work from each quarter is required for
videotaping documentation and evaluation. Often this course starts with an
input at the beginning of class, students are required to be in class on time
and attendance is compulsory (see more details regarding ATTENDANCE policy in this
syllabus p.10) All absences during class, late arrivals and early departures
are recorded daily.
For the submission of project proposal a consultation
with instructor will be required. It is anticipated that any original proposals
for projects will evolve (change) and will require modifications during the
course. The student is required to have continuous consultation with instructor
as work develops. This means it will be essential that the instructor and peers
view work during various stages of development during scheduled class times. As
well it is important that peers witness each other’s work in progress and in
particular are able to view unexpected directions that any given project may
take. The consultations with instructor and class attendance will be linked to
your participation grade.
Students are expected to integrate the
potential breadth of new knowledge received in the course with their personal
ideas and interpretations. Individual critical discussions of works in progress
with the instructor occur continuously throughout the term. Utilizing criticism
and dialogue with instructor and peers, and researching verbal terminologies
are essential for developing the studio work, verbal terminology and formal
vocabulary in relation to concepts (ideas). Through out the course students
will focus on pursuing various options of personalized innovative drawing (and
or art making) processes. These processes will explore late 20th Century
and current ideas (contemporary art) that may include a variety of materials
with realistic/natural, abstract, thematic/metaphorical, and technological
applications. Regardless of the options chosen in terms of applications and
media, the synthesis of advanced conceptual ideas with formal processes will
always be emphasized and required throughout the course.
In Class Consultation with Instructor While Work is in
Progress:
At the beginning for each half term
section of the course, students will be required to submit a project proposal
and consult with instructor. It is anticipated that any original proposals for
projects will evolve (change) and will require modifications during the course.
The student is required to have continuous consultation with instructor as work
develops. This means it will be essential that the instructor and peers view
work during various stages of development during scheduled class times. As well
it is important that peers witness each other’s work in progress and in
particular are able to view unexpected directions that any given project may take.
The consultations with instructor and class attendance will be linked to your
participation grade.
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Experimental Directions in Painting - STDO 3680
Instructor: Derek Brueckner
Transportation and
Storage of Work:
It is also expected that students learn to consider
practical issues in relation to the work that should include developing the
work into modules for easy installation, de-installation, transportation and
storage. All of these issues are concerns for anyone involved with a
professional art practice.
Required and Recommended Readings
Additional recommended bibliography. (A separate bibliography may be
handed out later).
Estimated Costs of Materials,
Supplies, or Other Financial Impact:
Course
supply list is open and costs will vary depending on what students choose to
purchase in terms of the optional materials and the direction in which students
choose to take certain projects. Overall there is an estimate of $300.00 for costs of art supplies and
materials for the entire course. Other additional costs may include Winnipeg
Art Gallery yearly passes or museum entry fees, travel cost and/or parking
costs during gallery tours/field trips, and printing costs for resource imagery
or presentation materials.
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Experimental Directions in Painting - STDO 3680
Instructor: Derek Brueckner
Class Attendance
Policy
Regular
attendance is expected of all students in all courses. The Office of the School
of Art will issue a letter of warning when a student has had three unexcused absences for any course
in a given term. The instructor may initiate procedures to debar a student from
attending classes and from final examinations and/or from receiving credit
where unexcused absences exceed those permitted.
If a person is in
violation of this attendance policy the Student Advisor will arrange to have a
letter sent to the student. Attendance will be taken for this course.
Return of Student
Work
The
recommended retention period for unclaimed student work is no less than 2
weeks. After two weeks unclaimed assignments will become property of the School
of Art and will be disposed of at its discretion.
Statement on Student Participation
in the Presentation or Discussion of Art
At the
School of Art, numerous required and elective courses contain content that
includes working from the nude model and some language, imagery, or dialogue
that may offend students. In particular, the School of Art provides comprehensive
art training that requires use of the nude model in some courses. In viewing
and discussing works of art, the School of Art encourages the broadest possible
tolerance consistent with Canadian law
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Experimental Directions in Painting - STDO 3680
Instructor: Derek Brueckner
CRITS: GROUP CRITIQUES and INDIVIDUAL CRITIQUES
Group or
Individual Critiques will become a very important component in the student’s
learning process for this course. The group critique is loosely structured in a
way that allows the class as a group to discuss and build a consensus as to
what each artist or art student's work is conveying to the viewer (classroom
audience). Not attending a group
critique is equivalent to missing a test – grades will be deducted. The
individual critique will involve an intensive one on one consultation.
During a
group critique usually the audience will view and be required to speak first
about the presented work. The artist who is presenting work then responds to
remarks made by classmates and may also discuss ideas that were missed by their
classroom peers. Usually group critiques will last 10-20 minutes per student.
Each critique will offer advice and constructive criticism regarding such ideas
as intent, level of formal and conceptual content, context and overall
professionalism. Critiques of work (Group and Individual) will offer as many
options as possible to strengthen the artist’s/art student's work. There are
many variables and possible solutions, a person will be required to research,
explore and investigate many options to discover the applicable solution(s).
Due to the
instructor having more experience than the students within the visual arts at
times during group and individual critiques the instructor will strongly
challenge a student’s or a student group’s value systems, preconceived ideas
and interpretations of various course issues.
Ultimately
the purpose of group critiques and
individual critiques can be pared down into these following points: generating
ideas and new ways of thinking, creating a class culture that has a positive
and productive dialogue, and assisting the person to grow, expand and improve
their work. As well the group critiques and discussions are also about
developing a person’s attention span and their ability to focus on discussions.
Note that
the work presented during group critiques will not be given a final evaluation
(grade) until the work is videotaped at the end of each quarter. However it is still extremely important and
compulsory to have the work completed for group critiques. If the work is deemed too incomplete the work
will not receive a group critique and the student’s grade will be penalized.
Students are strongly encouraged to continue to utilize comments from the group
critiques and individual critiques with the instructor. Following any critique,
students will always be required to rework and quite often significantly modify
assignments outside of class until it is time to videotape work. (See course
syllabus for videotaping dates)
During the
group critique students will be evaluated on your class participation, this
evaluation will be part of your overall class participation grade. This class
participation includes complete attention to all discussions during crits,
general professional and respectful behavior, actively viewing work at a very
close range and offering comments. Due to the nature of most assignments, group
crits will be emphasized more for the latter part of the course.
Please keep
in mind the instructor’s criticisms during individual and group critiques is
always intended to assist the artist/student in improving their work. The
ability to apply these criticisms is also firmly connected to a student’s
evaluation (grade) in the course.
Experimental Directions in Painting - STDO 3680
Instructor: Derek Brueckner
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Experimental Directions in Painting - STDO 3680
Instructor: Derek Brueckner
Plagiarism
and Cheating Policy
To plagiarize is to take ideas or words of another
person and pass them off as one’s own. In short, it is stealing something
intangible rather than an object. Obviously, it is not necessary to state the
source of well known or easily verifiable facts, but students are expected to
acknowledge the sources of ideas and expressions they use in their written
work, whether quoted directly or paraphrased. This applies to diagrams,
statistical tables and the like, as well as to written material, and materials
or information from Internet sources. To provide adequate and correct
documentation is not only an indication of academic honesty but is also a
courtesy which enables the reader to consult these sources with ease. Failure
to do so constitutes plagiarism. It will also be considered plagiarism and/or
cheating if a student submits a term paper written in whole or in part by
someone other than him/herself, or copies the answer or answers of another
student in any test, examination, or take-home assignment. Plagiarism or any
other form of cheating in examinations, or term tests (e.g., crib notes) is
subject to serious academic penalty (e.g. suspension or expulsion from the
faculty or university). A student found guilty of contributing to cheating in
examinations or term assignments is also subject to serious academic penalty.
Similarly, to copy, parts, or to reproduce everything
from an artist’s individual artwork and pass them off as one’s own is also
considered a form of plagiarism. When completing assignments or presenting work
done in self-directed studio art projects, students should be avoiding this
practice, since what is expected is that you will originate the ‘look or ‘style’
of the work from your own responses to the subject or ideas in question. To do
otherwise, through the knowing use of printed or internet reproductions of
published artists work would be academically dishonest, except in cases where
to make direct copy was a requirements of the assignment by an instructor, or
that your idea required such a response. In those cases it is clear as to the
intent to copy and is a pubic aspect of the meaning of the work.
Letter Grade
System
The grade of ‘D’ is regarded as marginal in most
courses by all faculties and schools. It contributes to decreasing a sessional
or cumulative Grade Point Average to less than 2.0. The course in which ‘D’
standing is obtained need not be repeated except by probationary students in
certain faculties or where a grade of ‘C’ or better is required in a
prerequisite subject. It may be repeated for the purpose of improving a grade
point average. Students in doubt as to the status of their record should
consult an advisor in their faculty or school.
Letter Grade Grade Point Value Percentage
A+ 4.5 93-100% Exceptional
A 4.0
- 4.4 88-92.9% Excellent
B+ 3.5
- 3.9 80-87.9% Very Good
B 3.0
- 3.4 75-79.9% Good
C+ 2.5
- 2.9 68-74.9% Satisfactory
C 2.0
- 2.4 60-67.9% Adequate
D 1.0
- 1.9 50-59.9% Marginal
F 0
– 0.9 Below 50% Failure
P Pass
S Standing
Experimental Directions in Painting - STDO 3680
Instructor: Derek Brueckner
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Experimental Directions in Painting - STDO 3680
Instructor: Derek Brueckner
Additional Information Regarding
Grades:
Students may want to assess
their assignments with the following guidelines before submitting them to
ensure you have done an excellent job of responding to the specific criteria
for the course. If an assignment is lacking in something, the information below
will assist in the revisions of the studio work prior to presenting the work to
your instructor for videotaping and final evaluation. (See course outline for
videotaping dates)
Grade of A
or A+ (GPA of 4.0 to 4.5) Excellent to Exceptional: A thorough and thoughtful treatment of the assignment
presented consistently in an original, logical and convincing manner.
The “A” assignment has clearly articulated formal (visual literacy) and
conceptual ideas (philosophical/thematic content), which are innovative,
complex, and thoroughly researched. Generally the ”A” assignment demonstrates
an excellent level of research, versatility, criticality and a breadth of
formal and conceptual skill sets. All of the assignment’s objectives in terms
of quality and quantity are achieved in an excellent or exceptional manner. In
addition to demonstrating the assignment objectives often an ”A” work offers
supplementary strengths as an excellent example of a contemporary art practitioner
and/or takes the work beyond the assignment’s objectives.
Grade of B or B+ (GPA of 3.0 to 3.9) Good to Very Good: This is a good or very good assignment in most ways,
but it is generally less thoughtful than an “A” work. Often “B” assignments are
those that mostly repeat what the instructor and the readings have taught, and
do so in a way that makes it apparent that the student understands the concepts
and objectives, but does not add much to them. The B assignment may be less
sophisticated than an “A” assignment, but the “B” is still reasonably competent
and conveys ideas and concepts to the viewer. At times the B assignment may
offer some innovation but simultaneously may be missing some of the
assignment’s objectives. Generally in the B assignment, the assignment
objectives are achieved in a less sophisticated and innovative manner than the
A assignment which often in has a combination of complex yet clear formal
(visual literate) ideas and thorough conceptual ideas (philosophical/thematic
content).
Grade of C
or C+ (GPA of 2.0 to 2.9) Adequate to Satisfactory): An assignment that shows an understanding of most
concepts and objectives involved in the assignment, but does not treat it
thoroughly or does not synthesize the assignment into an entirely clear manner.
In the C assignment the communication of ideas (s) are visually and or
conceptually vague and may appear to be contradictory, or visually noisy or
conceptually confused. Strong effort by a student may be given for a C
assignment, but the work struggles to convey the assignment objectives in terms
of demonstrating visual literacy and/or thorough conceptual ideas in the work.
Grade of D
(GPA of 1.0 to 1.9) Marginal: Seriously flawed. The assignment neither demonstrates an understanding
of the material nor articulates any coherent ideas or concepts. The assignment
might wander among several ideas with out developing any single one. There is
no focus in this kind of work. Often a D assignment will be presented as
incomplete or unfinished. In a “D” assignment a student might rely on others’
work rather than developing her/his ideas. The instructor might wonder if the
student tried at all.
Grade of
F (GPA of 0 to 0.9) Failure: Little redemptive value appears in “F” work. The
assignment fails to address the assignment in fundamental ways. There is no
real answer to any of the problems posed by the assignment, and there is no
real engagement in the topic in any way. The work often fails to be coherent at
all and demonstrates no effort or any of the objectives. Generally the student
who receives an F on their assignment does very little of the required work,
nor utilizes criticism, and often their classroom attendance is in violation of
university policy.
If there are any questions
or comments regarding the above grading criteria feel free to talk to the
instructor during class, or schedule a meeting outside of class.
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