2016 UCLA Summer Art Institute Painting Session A Instructor: Sarah Sarchin Teaching Assistant: Ray Barsante
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2016 UCLA Summer Art Institute Painting Session A Instructor: Sarah Sarchin Teaching Assistant: Ray Barsante
2016 UCLA Summer Art Institute Painting Session A Instructor: Sarah Sarchin Teaching Assistant: Ray Barsante “Whip out the masterpieces” This class will serve as a radical immersion in the history and technique of painting. In WEEK 1 we will execute a variety of quick works to acquaint ourselves with the issues of line, mass, value, hue, saturation, paint handling, mark making, observation, scale, speed, surface and content. In WEEK 2 students will build on these techniques and concepts to devise and execute a final project. Projects: Several longdistance paintings on brown or white roll paper 8 small still life on cardboard 2 medium scale portrait studies on panel 2 large scale gestural figure paintings on brown paper 20 text paintings on watercolor paper 2 medium scale figure/ground paintings on canvas 4 small abstract paintings on paper collage/assemblage project on canvas 20 Monoprints on watercolor paper 2 landscape paintings on watercolor paper Final Project on canvas SESSION A WEEK 1 Tuesday 7/5 Still Life I Line, mass, value, hue, saturation Morning Studio 11:00 12:00 Students introduce themselves and briefly share their idea of what a painting is . Review syllabus, set up work areas and go over materials Daily Warm up: 15 minutes Longdistance painting Artists attach a 2in brush to a pole, fill a cup with watered down acrylic paint, place a large piece of brown paper on the floor or tape it to the wall and execute a contour painting. As the course progresses artists may wish to collaborate on their longdistance paintings. Or they may not. Lecture: Matisse’s use of a paintbrush extension: In mural commissions, and in painting from his bed. 12:00 –1:15 Lunch (Students get BruinCards, and “Material Kits” at LuValle if needed) Afternoon Studio 1:15 5:30 4 Still Life Paintings Students will construct a simple, abstract sculpture using cardboard, masking tape, paper, and other materials athand. Students will then work observationally to create 4 quick still life paintings, briefly reworking or modifying their abstract sculpture before each new painting. First Painting (Black and white): demonstration on drawing from observation Second Painting (Black and white): demonstration on mass, value, observation of light source Third Painting (complimentary color): demonstration on color mixing, working on a toned ground Fourth Painting (full palette) Review daily studio cleanup procedure, discuss HOMEWORK a ssignment 7:00 10:00 Homework Time at Residence Hall/Evening Activity HOMEWORK: 10 drawings from images tracing is ok Wednesday 7/6 Still Life II Pictorial space & Experimental color Morning Studio 9:00 11:00 15 minutes Longdistance painting 4 more Still Life Paintings Students will paint their abstract sculpture with color, incorporating line and pattern. Students will then continue work on still life paintings, modifying the abstract sculpture between each painting. Demonstration: brush technique, paint handling, indirect color mixing, glazing color over grisaille Lecture: A very brief history of Still Life : Cezanne, Picasso and Braque, De Chirico, Giorgio Morandi, Josephine Halvorson And on: Experimental Color : Atmospheric color JMW Turner, optical color mixing the Impressionists, the Nabis, Pointillism, special focus on color techniques of Bonnard and Vuillard, Matisse and pattern painting 11:00 – 12:00 Artist Talk (all students attend in Auditorium – Broad 2160E ) 12:00 – 1:15 Lunch Afternoon Studio 1:15 5:30 Continue stilllife work from the morning studio. Group discussion: Looking together at the results of our still life experiments for some information about how to approach composition in painting. 7:00 10:00 Homework Time at Residence Hall/Evening Activity HOMEWORK 10 blind contour drawings following the theme of portraiture, and using a buddy as a model. Thursday 7/7 (LATE STUDIO NIGHT) Portrait and Figure Controlled versus Gestural Mark Making Morning Studio 9:00 – 12:00 15 minutes Longdistance painting 2 Portraits Students will paint from life, spending a total of ½ hour on each painting. Students will work in pairs and alternate between painting and modeling in 15 minute increments. Lecture: Portrait and likeness: Egyptian Fayum mummy portraits, Leonardo DA vinci, Manet, Martin Kippenberger, Alice Neel, Joan Brown, Kerry James Marshall, Elizabeth Peyton 12:00 – 1:15 Lunch 1:15 – 2:15 Artist Talk (all students attend in Auditorium – Broad 2160E ) Afternoon Studio 2:00 – 4:45 2 large figure paintings Continuing our work with the life model, students will experiment with gestural mark making to create two large figure paintings on brown paper. The first painting will combine several short poses, the second painting will be observed from one long pose. 4:45 – 5:15 Dinner / Snack Break Evening Studio 5:15 – 7:00 20 text paintings Students will use their names to make quick, textbased paintings. All 20 works will use the letters of the artist's name to develop a composition that deals with line quality and positive and negative space. Lecture: Text in painting: Magritte, Cy Twombly, JeanMichel Basquiat, Ed Ruscha, Glenn Ligon, John Baldessari, Christine Wang, Josh Smith Friday 7/8 The Figure II Figure/ground relationships Morning Studio 9:00 – 12:00 15 minutes Longdistance painting 2 Figure Paintings Students will work from a life model to make two paintings which incorporate the architecture of the room. Lecture: Painting the Figure : Giotto, Sylvia Sleigh, David Hockney, Marlene Dumas, Philip Guston, Mira Dancy Group discussion: Looking together at the results of our figure paintings for some information about how to navigate the interaction of figure and ground. 12:00 – 1:15 Lunch 1:15 – Meet at Broad Lawn to prepare for Museum Trip 1:15 – 4:30 Museum Trip to Getty Center (all students attend) While at the Getty make one or more drawings from observation of a figurative painting in the museum. 4:30 – 5:30 Return from Getty, group discussion of observational museum drawings 7:00 10:00 Homework Time at Residence Hall/Evening Activity HOMEWORK: Read On Color by Amy Silman. Pretend that you are writing a personal manifesto on color, write out the first sentence to share in class. Saturday 7/9 Abstraction, Chance Procedures, Collage Morning Studio 9:00 – 12:00 15 minutes Longdistance painting 4 Abstract paintings Students will generate four abstract paintings using the vocabulary we have developed in the class: Line and mass, color, value, composition. Chance procedures will be offered as painting prompts. Lecture: Abstraction : Gestural Abstraction, Color field painting, post abex artists, geometric abstraction, Mary Heilman, Toma Abbts, Amy Sillman, Charline Von Heyl, Rebecca Morrison Group Discussion: Read aloud Rebecca Morrison’s “Manifesto for Abstractionists…” 12:00 –1:15 Lunch Afternoon Studio 1:15 – 4:15 Painting broadly defined Artists will develop their abstract sculptures into finished works either as autonomous objects or by disassembling and incorporating them into a painting surface. The finished work may be one or several pieces, may be abstract or representational, but must include at least one element from the abstract sculpture. Lecture: Painting in the expanded field: Robert Rauschenberg, Pablo Picasso, Lynda Benglis, Howardena Pindell, Carolee Schneeman, Jutta Koether, Chris Offili 4:15 – 4:30 Snack Break 4:30 – 5:30 Art Movie Screening in Auditorium (all students attend Auditorium – Broad 2160E ) 7:00 10:00 Homework Time at Residence Hall/Evening Activity HOMEWORK: Read Interview with Jutta Koether, 1994 from Interviews, Conversations and Chit Chat 19862004 by Mike Kelley. Based on information from the interview, write a brief, one paragraph description of Jutta Koether’s work and practice. SESSION A WEEK 2 Monday 7/11 Variations on surface Monoprints and Plein Air Painting Morning Studio 9:00 – 11:00 15 minutes Longdistance painting 20 Monoprints Students will use the backsides of their text paintings to make quick Monoprints. These works can employ both abstraction and representation, and can be layered with multiple prints or augmented with brushwork or color washes. Lecture: Monoprinting as a painting technique : Lascaux cave paintings, Yves Klein, David Hammons, Roger Herman, Nicole Eisenman Group discussion: looking together at the results of the mornings monoprints for some information about when a painting is done how do you know when to stop painting? 11:00 – 12:00 Artist Talk (all students attend in Auditorium – Broad 2160E ) 12:00 – 1:15 Lunch Afternoon Studio 1:15 – 5:30 2 medium scale landscape paintings Students will work outside, continuing to build on our vocabulary of line, mass, color, value, and figure/ground while experimenting with paint thickness and texture. These paintings should demonstrate a varied surface. Lecture: Surface : Manet, James Ensor, Laura Owens, Helen Frankenthaler, Silke OttoKnapp, Billy Al Bengston and finish fetish, Lari Pittman Group Discussion: What are your criteria for a successful painting? 7:00 10:00 Homework Time at Residence Hall/Evening Activity HOMEWORK: 5 Drawings of Landscape focusing on gestalt, 5 drawings of landscape focusing on detail, 5 drawings that abstract the landscape Tuesday 7/12 Final Project Morning Studio 9:00 – 12:00 15 minutes Longdistance painting Final Project Each student will execute a painting or group of paintings of their own design. Sarah and Ray will speak with each artist individually about their work and their goals for the final project. 12:00 – 1:15 Lunch 1:15 – 3:00 Museum Trip – Hammer Museum (all students attend) While at the Hammer make one or more drawings from observation of a painting in the museum. 3:00 – 5:30 Return from Hammer Museum, group discussion of observational museum drawings. 7:00 10:00 Homework Time at Residence Hall/Evening Activity HOMEWORK: TBD based on individual projects Wednesday 7/13 (LATE STUDIO NIGHT) Final Project Morning Studio 9:00 – 12:00 15 minutes Longdistance painting Continue work on final project, individual conversations with Sarah & Ray 12:00 – 1:15 Lunch 1:15 – 2:15 Artist Talk by Summer Art Institute Instructors (all students attend in Auditorium – Broad 2160E ) Afternoon Studio 2:00 – 4:45 Work on final project, individual conversations with Sarah & Ray 4:45 – 5:15 Dinner / Snack Break Evening Studio 5:15 – 7:00 Surprise activity! (not in syllabus) Artist book Students will randomly distribute their twosided text/mono print paintings to each other. Every student will retain ____ of their own paintings as well as one from each of their classmates. Each student will also select and cut apart a brown paper painting from our longdistance exercises to make a book cover. After a discussion of artists books and image curation, each artist will assemble their paintings into a book. Lecture: Other strategies to display and look at paintings artists books : Roger Herman, Laura Owens Demonstration and workshop of simple twine bookbinding and how to fold a book cover. Thursday 7/14 Final Project Morning Studio 9:00 – 12:00 Complete work on final project, individual conversations with Sarah & Ray 12:00 – 1:15 Lunch Afternoon Studio 1:15 – 5:30 Prepare studios for afternoon critique Group discussion: what do we hope to get and to give when we exercise critique? Look at and discuss John Baldessari’s painting Terms Most Useful in Describing Creative Works of Art Final Critique with Instructor and Guest Faculty/ Guest Artists 7:00 10:00 Homework Time at Residence Hall/Evening Activity HOMEWORK: Write a one paragraph statement about your final piece Friday 7/15 Residential Students check out from housing halls and stow luggage before class 9:00 – 12:00 Bring artwork to gallery, install exhibition, Install 12:00 – 1:15 Lunch 1:15 – 2:00 Pack artwork to be shipped home, final studio cleanup 2:00 – 3:30 Final Reception held at New Wight Gallery all students, parents / guardians, faculty, staff and friends are welcome to attend! Rebecca Morrison MANIFESTO For Abstractionists and friends of the nonobjective BE A FORCE Don’t shoot blanks Black and Brown: that shit is the future Triangles are your friend Don’t pretend you don’t work hard When in doubt, spray paint it gold Perverse formalism is your god You are greased lightening Bring your camera everywhere Never stop looking at macrame`, ceramics, supergraphics and suprematism Make work that is so secret, so fantastic, so dramatically old school/new school that it looks like it was found in a shed, locked up since the 1940’s Wake up early, fear death Whip out the masterpieces Be out for blood You are the master of your own universe Abstraction never left, motherfuckers If you can’t stop, don’t stop Strive for deeper structure Fight monomania Campaign against the literal ABSTRACTION FOREVER!