Assignment 1: Anthropomorphic Object (Option A) or Morphing Objects (Option B)

For Assignment 1 there is the choice of doing 1 of the following 2 Options: 

Anthropomorphic Object (Option 1)  

or 

Morphing one object into another object (Option 2) 

Note: For this assignment people should be working from an image or an object for Option 1 or for Option 2 should be referencing 2 images or 2 objects.

Anthropomorphic Object Assignment in Space (Option 1) 

1) Select an object that that has  anthropomorphic (human expressive) characteristics and create a complex and interesting painting that creates a spatial context (representational space) for your chosen anthropomorphic object.

2) Painting that is 2 x 3 feet

3) Keep in mind the anthropomorphic expressive effect or presence in the object should be derived primarily by the pictorial depiction and visual manipulation of the object in the painting due to lighting, shadows, angle of view and overall visual interpretation of the object.

Evaluation Criteria for Anthropomorphic Object in Space (Option 1) 

Formal Content 70% Characteristics of how you paint the anthropomorphic object in the representational space will be the main criteria (formal criteria includes lighting, progressions of space, strategic use of soft to sharp edges, high to low contrast, detail to no detail, and interesting use of composition in each stage of morphing painted objects.

Thematic Content 20%  Secondary criteria that that is not as important as the Formal characteristics but you should bring Thematic content into the assignment as well.

Connecting Formal Content with Thematic Content 10%  How does your formal content and processes in the painting reinforce the thematic content in the work?

Photography Examples of Anthropomorphic Objects in Space:

Morphing Objects (Option 2)

1) Use 2 objects (or images of 2 clearly photographed objects) [If you choose images make sure the objects in both images have volume as demonstrated in examples].

2) Depict 1 Object transforming/morphing into another Object. There should be at minimum of 4 painted objects in between the object you begin with and the object you conclude with. In total here should be at least 6 painted objects. The transition from 1 image (morphed object) to the next should be gradual so the 6 stages of each painting are consistent within the sequence of transformations.

3) Painting that is 2 x 3 feet or each of the 6 painted objects should be on 6 individual panels that are a minim of 12 x 12 inches minimum in dimension. 

4) Select objects or images that will offer you complex and interesting transformations. Your selection of each object is important because the selection will allow for interesting morphing/transitions from one object to the next.

5) Select objects/images that are different from each other and try to set up some visual polemics.
For example:
-one object could have organic shape while the other object is geometric in shape
-one object could have texture while the other object is reflective and smooth
-one object could be transparent (like glass) while the other object is opaque (you can not see through it)

 

Evaluation Criteria for Morphing Objects (Option 2):

Formal Content 70% Characteristics of how you paint the morphing objects will be the main criteria (formal criteria includes lighting, progressions of space, strategic use of soft to sharp edges, high to low contrast, detail to no detail, and interesting use of composition in each stage of morphing painted objects.

Thematic Content 20%  Secondary criteria that that is not as important as the Formal characteristics but you should bring Thematic content into the assignment as well.

Connecting Formal Content with Thematic Content 10%  How does your formal content and processes in the painting reinforce the thematic content in the work?

Examples of Morphing Objects (from drawing course):

Assignment 2: Digital Dyptych Painting Assignment

Digital Dyptych Painting Assignment:

 

Diptych is an artwork consisting of 2 picture planes or 2 panels/canvases (2 surfaces), that together create a singular artwork. These 2 physical surfaces can be attached together or presented as an illusion of 2 panels joined to each other.

 

Digital component of work could include printing on canvas and integrating paint mediums with printed canvas. This would include painting on digitally printed surfaces, or collaging parts (or fragments) of printed canvas on painted surfaces.

 

Is the seam/dividing edges between the 2 painted picture planes created with paint, or physically done with 2 separate painted canvas surfaces?

 

Have 1 or more elements (shape or line) cross over the threshold (seam) of the 2 panels. Use these elements as accessories that connect the 2 panels and unify the 2 panels as a whole work, but still allow the panels to operate as autonomous pictorial spaces with the seam still being maintained to emphasize the diptych painting. Process of revising and editing could include the visual fight back and forth between the edge and the element(s) that cross over the seam.

 

Another approach to incorporating digital aesthetics and methods into the diptych painting is that 1 of the picture planes could have a monitor with video or animation integrated into 1 of the 2 picture planes. This is only an option and does not require video to be part of the work.

 

Dimensions

Collectively the Diptych painting must be at least 24 x 36 inches in size. (of course the work could be larger than those required minimum dimensions)

 

The ratio of the seam having a split between the 2 surfaces could range from the dividing seem of the 2 surfaces being 50/50 % (entire work split exactly in half) to being split approximately 65/35 % (one 3^rd with two 3^rds ratio)

 

Process

 

Integrate some form of print out of something you have created digitally.

As always document working process each day particularly if most of the digital print out gets covered with paint.

 

Artists to Research

Some contemporary examples of artists working with a type of diptych aesthetic in the work include Janet Werner (Montreal) and Robert Longo (NYC). There are other contemporary artists working with Diptychs and numerous historical artists working with Diptychs.

 

 

 

 

Dyptych Painting Assignment Objectives

Variation of elements in subject matter from 1 surface to the next. Consider and develop interesting formal and conceptual juxtapositions of content from 1 surface to the other. Collectively how do the 2 panels work together in unity, but at the same time offer diversity and uniqueness within the separate areas of the 2 surfaces.

 

 

 

Dyptych Painting Polemics

(Polemics to juxtapose with the 2 separate panels)

 

o   Representational imagery vs. abstraction

 

o   Text vs exclusively visual/optical

 

o   Thick textural application of materials vs. thin and smooth

 

o   Printed matter (digitally or screen-printed elements on canvas) vs. hand painted elements

 

o   Imagery from Observation vs. Imagery from Technology, Media and Popular Culture

 

o   Different surfaces such as: wood vs. canvas, or paper vs plastics/synthetics, fabric

vs. glass

Assignment 3: Open Assignment with Options (An Ambitious Project related to Painting and Contemporary Ideas)

 Assignment 3 is an open assignment that has self-directed options for students. 

This final assignment for the course will still require an ambitious project that could include a very large-scale work (or works), or a significant series of smaller works, or an installation, or a combination of these options. 

Either way, this project still needs to be about painting and contemporary ideas. This final project should still substantially involve paint, and the formal use of the paint should support a thematically layered work.

This project will require a proposal and discussion with instructor.

Grading/Evaluation Criteria for Assignment 3:

Please see the criteria from the Intermediate Painting syllabus below regarding the evaluation of this work:

 

Layers of Concepts/Themes                                                                                 20

Formal/Visual Language/Technical Skill, Editing, Experimentation                      70         

Synthesis of the concepts/intention with formal/visual language                          10