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| PT 213 - Material as Metaphor |
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| 3 credits. Park. Offered Spring. The physical and metaphoric dimensions of materials will be explored in this class. The process of how we interact with materials can be parallel to the experience of thinking. This class is for students who are linked to materials and are process-oriented in the way they work. The use of traditional tw0-dimensionsl materials, natural materials in their raw and processed states as well as found and collected materials will be explored as students develop independent projects. |
| PT 214 - Poetics of Materials |
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| 3 credits. Staff. Offered occasionally While painting from observation, students in this class explore the pigments used in oil paint with a special emphasis on building a relationship between the painter and his or her materials through hands-on experiences in making paints. Prerequisite: PT 200. |
| Painted Spaces |
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| PT 216 - Parapainting |
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| 3 credits. Sigler. Offered fall. This course emphasizes hands-on production in all media. In the discussion of four major projects, students make correlations to traditional painting. The aim is to be experimental and rigorous about conceptual, theoretical, and perceptual issues. Coursework examines the work of such parapainters as Marcel Duchamps, Dan Flavin, Jessica Stockholder, Paul McCarthy, Hanne Darboven, Neil Welliver, and Peter Halley. Prerequisite: PT 200. |
| PT 218 - Illustration for Painters |
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| 3 credits. Staff. Offered fall. Designed for students in fine arts who wish to explore illustration as a practical application of skills and a way of earning an income. This course looks at the field of illustration and helps students understand how to market their work. Lectures, demonstrations, portfolio development, and a series of assignments intended to emulate every day illustration projects constitute the majority of the coursework. Prerequisite: PT 200. |
| PT 219 - Drawing into Painting |
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| 3 credits. Yates. Offered spring. The integration of drawing and painting is a fascinating process to be explored on many levels in this course. Slide and book talks on historical and contemporary master painters will cast a perspective on drawing as preparation for sustained paintings and on the direct and indirect use of drawing 'handwriting' in paintings. Color drawing media-pastels, crayons, and color pencils, inks, papers re:collage will particularly be utilized for experimenting with palettes and seeing a connection between color and tonality. Subject matter will include studio interior/figure situations for the first half of the semester leaving the second half for various architectural/landscape environments in and around the city. The emphasis will be on observation of visual phenomena but not limited to a representational direction; students will be encouraged toward a personal interpretation of available imagery. The total course time will roughly be divided equally between drawing and painting. Attendance is mandatory, four hours of outside work is expected for each week and a sketchbook is required. Roundtrip transportation to sites is provided. > |
| PT 220 - Abstraction and Painting |
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| 3 credits. Staff. Offered Fall, Spring, Summer Abstraction is a process that is closely aligned with our inner human capacity to construct meaning: our ability to make, shape, and play imaginatively with non-literal images and non-verbal metaphors. By not relying on conventional representation or overt symbols, students are challenged to explore the flow of diverse ideas and risk failure, and arrive at accomplished work. All students are required to participate fully in studio classes where they receive individual and group critiques. In this environment they gain significant knowledge of the history and practice of painting as they pursue the work that is inseparable from their own personal exploration. Students select final projects in painting to be completed independently during the summer and critiqued the first week of September. Prerequisite: PT 200 or equivalent. |
| PT 222 - Collaborations |
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| 3 credits. Salazar. Offered occasionally. Throughout the history of art, works of remarkable invention have been created by pairs of artists working in concert - exchanging ideas while inspiring and inciting one another to new and greater heights of artistic achievement. Such creative duos include Picasso & Braque, Peter Paul Rubens & Frans Snijders, Jean Arp & Sophie Taeuber-Arp, George Grosz & John Heartfield, Sonia & Robert Delaunay, Red Grooms & Mimi Gross, and Robert Rauschenberg & Jasper Johns. In recent years, artistic collaboration has become a preferred way of creating for many, and a large number of artistic teams have come to dominate the contemporary art scene: Komar & Melamid, Nancy & Edward Kienholz, Barvara & Michael Heizer, Mike & Doug Starn, Christo & Jeanne-Claude, and Gilbert & George. Painting, which has long been the voice of the solitary artist, becomes a conversation when one enters into a creative partnership. This dialogue provides the artist with the exciting opportunity to make work of greater power and significance than might be achieved by working alone. For this course, each student will make work in collaboration with one or more members of the class; the makeup of these teams will be dynamicand creating new teams will be encouraged to allow for growth and new ideas. Though the focus of this class is on painting, any interdisciplinary partnership is possible. The instructor who himself frequently collaborates with other artists will present material which focuses on the history of collaboration, and the work and working relationships of other artist-collaborators. There will be regular critiques and discussions of relevant issues, such as creative problem solving, conflict resolution, and effective communication. |
| PT 223 - Settings and Sources |
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| 3 credits. Nemett. Offered occasionally. This class is offered in partnership with Goucher College and is team-taught by Barry Nemett and faculty from Goucher. The course is taught on the Goucher campus, providing students a wide mix of methods, ideas, unique facilities, settings, and sources. Although students are encouraged to develop a body of work that naturalistically represents or abstractly interprets a specific subject or activity such as rural landscape, horses, orchestra, theatre, and ballet dancers, any kind of independent work is acceptable. Slide presentations, as well as group and individual critiques, augment the weekly studio and on-site experiences. College vans provided. Prerequisite: PT 200. |
| PT 225 - Abstraction/ Representation |
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| 3 credits. Davenport. Offered occasionally. A difficulty with much abstract painting today involves the lack of content; a difficulty with much realist painting involves a lack of abstraction. This course addresses the weave between abstraction and representation. We will work together and take a field trip or two. Prerequisite: PT 200. |
| Poetics of Representation |
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| PT 330 - Abstraction/ Mixed Media |
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| 3 credits. Gilbert. Offered occasionally. This course offers an opportunity to pursue individual concerns, to interrelate drawing and painting approaches, to experiment with a wide variety of media. Emphasis is on individual development. Time in class is spent on critiques, sometimes ranging into the philosophical, sometimes becoming technological, in which the class participates in a lively fashion. There is no final authority, and diverse or contradictory opinions are encouraged. Prerequisite: PT 200. |
| Painting: Photographic |
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| PT 235 - Over the Lines |
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| 3 credits. Labadie. Offered spring. This course provides a venue in which students investigate notions of painting that challenge its boundaries and question its method and materials. Working independently, students are encouraged to develop personal direction and to experiment with novel approaches to problem solving. Scheduled slide talks address such topics as conceptual painting, kinetic painting, sculptural painting, electronic painting, performance painting, process painting, etc. There are regularly scheduled individual and group critiques. Prerequisite: PT 200. |
| PT 237 - Materials and Techniques |
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| 3 credits. Theodore. Offered fall, spring. A comprehensive guide to traditional and contemporary painting materials and techniques. This course is designed to aid students in the selection and use of artisit's materials in regard to their suitablity, archival qualities, and safety. Painting assignments will correspond to the materials and techniques discussed. Work will be reviewed and evaluated through individual and group critiques. Prerequisite: PT 200. |
| PT 240 - Poetry and Painting Seminar |
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| 3 credits. Lonegan. Offered minimester. This is a painting course that is designed for the artist in search of a voice and a vision. The use of subject matter in painting and poetry, whether overtly narrative or intensely personal, will be developed and strengthened through these explorations of form and theme This is a studio class that will afford the student opportunities to indulge in the simultaneous pleasures of reading, creative writing, and painting. To succeed in this course, you need not be an accomplished writer or sophisticated painter. All that is required is a passion for the written word and the painted image. Emphasis is placed upon the process of developing paintings and poems together, from journal entries through preliminary drawings to completed image. Student's poems may be either original compositions or selected texts, and the student's personal creative process will be the primary subject of our studio discussions. Through the incorporation of poetry into the painting process students acquire a greater intimacy with the themes and ideas that determine their individual artistic vision. Prerequisite: FF 198 or FF 150. |
| PT 248 - Figure and Ground |
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| 3 credits. Connolly. Offered fall, spring. A studio class designed for the student with an abiding interest in realism, this course actively uses both the history of painting and the presence of contemporary painting to facilitate an investigation of procedure in narrative figure painting. Specific mechanical procedures will be covered through demonstrations and contemporary examples and will include surface preparation, glazing, old master procedures, ala prima procedures, observational painting procedures, photo referencing, and many others. Over the course of the semester each student produces two major figurative paintings and five smaller works. Prerequisite: PT 200, DR 252. |
| Painting and Drawing: Figure and Interior |
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| Painting and Drawing: Landscape and Interior |
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| PT 258 - The Sustained Figure |
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| 3 credits. Shannon. Offered spring. This course concentrates exclusively on painting from the full-length nude model. There are five three-day studies. Classic objective accuracy-depiction is the key. Issues of sculpturally, linear grace, and tonal and color fidelity and nuance are stressed. Backgrounds are minimized. The mechanics of painterly method are coached and encouraged. |
| PT 263 - Discoverng the Figure |
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| 3 credits. Economos. Offered fall. Painting the figure presents numerous challenges and opportunities in both technical and formal matters. This course embraces those challenges. Perception and expression are directed in understanding and resolving compositional problems. In addition, this course also focuses in the development of figurative imagery and direction. Slide lectures occur and students discuss certain artists, both traditional and contemporary. The class explores their contributions in specific areas, such as light, environment, and attitude. Assignments are given on a weekly basis. Individual and group critiques are included. Prerequisite: PT 200. |
| PT 268 - Rhythms and Systems |
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| 3 credits. Aram. Offered occasionally. This course explores the use of systems (pattern, rhythmic systems, the grid, etc.), geometry, and the question of the “decorative” in painting. Although the focus of the course is on studio, much of studio practice involves research and preparation, thus each student is required to carry out independent research relating to his or her own work. Students will be required to work independent of assignments and present their work in weekly group discussions (a.k.a. critiques). Issues around which the class discussions are centered will reflect directly or indirectly on student work. Students will work outside of class. Students will be given brief reading assignments, which will be discussed (briefly) in class. Readings will include essays by Peter Halley and interviews with Chris Ofili, Terry Winters and Ross Bleckner among others. Through slide presentations, film screenings and student presentations we will observe the various uses of systems by artists throughout history. The focus, however, will be on contemporary painters. Artists to be viewed include: Agnes Martin, Jasper Johns, Alfred Jensen, Beatriz Milhazes, Chris Ofili, Matthew Ritchie, Ross Bleckner, Peter Halley, Phillip Taafe, and Fred Tomaselli. Painters of all backgrounds are welcome (i.e. figurative, abstract, paintless painters, etc.) Prerequisite: PT 200. |
| PT 274 - Community Based Murals |
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| 3 credits. Staff. Offered spring. Students will actively participate in a a variety of community-based mural projects that will involve close collaboration with public schools, community organizations and residents. During the semester, students will design and execute - upon approval - interior murals for a Community Arts Partnerships program site; submit proposals for a site-specific outdoor mural for a community in Baltimore (to be painted during the May mini-mester Murals course); and adapt already existing murals, designed and painted by children for Rolans Patterson Middle School Academy, into outdoor murals for the St. Ambrose center park. Throughout this course, a range of topics will be discussed, including a history of murals and the community mural movement, technical aspects of mural making, and strategies for working with diverse communities. Transportation and mural materials will be provided. Prerequisites: DR 298, PT 200. This is a CAP course. |
| Artist On-site: Mural Technique |
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| Performance/Installation |
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| PT 280 - Color Abstraction |
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| 3 credits. App. Offered spring. Various approaches to the phenomenon of color have played an important role in the development of abstract painting in this century. From the earliest experiments in abstraction to the most recent developments, painters have freed color and form from the object and the figure in order to explore openly potential meanings inherent in pure color expression. In this course, we investigate the nature of abstraction and its relation to color theory. Students are encouraged-through structured and free problems, readings, slide presentations, and museum/gallery visits-to develop their own personal approach to abstract painting. There is discussion of color theories of Kandinsky, Itten, Hoffman, and Albers. Form issues are emphasized, including alternative painting methods, surface qualities, and effective composition. Prerequisite: PT 200. |
| PT 282 - Theme and Variation:The Figure |
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| 3 credits. Majumdar. Offered occasionally. The coursework involves drawing and painting from the figure, and perception in both the strictest and broadest sense. Issues addressed include working direct from life, working from invention, and explorative processes that help connect these modes. The semester rolls in a "stream of consciousness" manner, with one group of work leading into the next. The idea of working in a "series" alongside individual works is addressed. Classwork consists of 20min to 3 week paintings involving single and multi-figure compositions; homework explores the same issues in a more personal context. Artists addressed through slide talks and videos include those whose work have perceptual, abstract, and inventive facets such as Piero della Francesca, Goya, Degas, Giacometti, Vuillard, Balthus, as well as a range of contemporary figurative artists. Prior drawing or painting experience from the figure is suggested. Prereq. PT200 and DR252. |
| PT 284 - Jerusalem Cultural Exchange |
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| 3 credits. Karnes, Hirshberg. Offered summer. This intensive month-long course of study incorporates an exciting mix of challenges for painting majors inclined toward figure painting. A cooperative effort between faculty and students from MICA and the Jerusalem Studio School, the course includes copying and painting from old masters at Baltimore Museum of Art, landscape painting, and visits to the studios of important contemporary figurative painters. Weekly field trips to Washington D.C. and New York City are planned. The varied studio aspects of the program are designed to deepen the student's roots in the great traditions of Western art, extending and strengthening the student's visual, technical and pictorial comprehension, and to help define the link with contemporary figurative directions. In addition, an important aspect of the program is the opportunity for art students from two very different parts of the world to engage in a cultural exchange that unfolds through the sharing of artistic values and the bonding created through work. Prerequisites: MICA painting majors or by special permission of the painting chair. |
| PT 396 - Painting: Direct from Life |
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| Opportunity for extended painting from figure. Long-term set-ups, of 3 weeks duration at least. |
| GFA 372 - Personal Direction |
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| 3 credits. Neill. Offered Spring. Students will explore sources for the ideas expressed in their work by examining their personal history and artistic identity. Topics common to artists throughout the history of art range from psychological and philosophical to scientific and mythic. These will be presented to encourage deeper exploration into individual points of view. This course is appropriate for the Intermediate/Advanced level student who has developed a personal direction or the student who is making the transition from assignment based courses to independent personal based work. There will be weekly slide lectures, discussions or museum visits and regular group adn individual crits. An inner disciplinary course, there are no restrictions on medium, form or imagery. |
| PT 311 - Pushing Color |
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| 3 credits. Salazar. Offered occasionally. Through discussions and slide lectures, this course will explore how artisits across a wide spectrum of styles and methods use color in contemporary figurative and abstract painting. In studio work made for this class, we will discover how color - the most challenging of the visual elements - can be an exhilirating, sensuous, creativeand expressive force in painting. Prerequisite: PT 200 |
| PT 272 - Painting:Personal Narrative |
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| 3 credits. Staff. Offered fall. In this multi-media course, students use oil and/or acrylic paint, and drawing materials as well as a variety of surfaces and scales to develop imagery that conveys their personal history and interests. Students are encouraged to find a balance between work done from direct observation and work from imagination Prerequisite: PT 200. Pass/Fail. No repeat enrollments. Open to painting majors only. |
| DR/PT 394 - Painting/Drawing:Color |
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| This course is an exploration into all aspects of color in darwing and painting. We will study color perception in depth, and explore the role color plays in mood, expression, movement, luminosity, and pattern. Students will work in painting and/or drawing media of their choice, and by comparing various choices we will notice the different strengths, demands and possiblities of each. The ultimate goal is to allow each student to find an individual approach to color for independent investigation through an on-going series of painting and/or drawings both in class and out. CAN BE TAKEN FOR PAINTING OR DRAWING CREDIT. |
| NCSP 301 - Drawing & Painting Landscape |
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| Location: St. Paul's. Grades 6-8: The sprawling and beautiful campus of the Saint Paul's Schools provides students with the perfect surroundings to develop perceptual and technical skills in drawing and painting the landscape. Through analyzing the work of historical and contemporary landscape artists and completing exercises in drawing and painting from observation, students will learn ways in which art elements, compositional devices and media can be used in interpreting the natural environment. |
| In a Sea of Light: Painting the Aegean Islands of Santorini and Karpathos |
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| Sorrento Summer: Experiencing Southern Italy through Painting and Drawing |
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