Painting Department
Winter Session 2010
PAINT-4421-01
Hip Hop: Paint Don't Stop
01/04/2010-02/12/2010
Monday 08:00AM - 01:00PM, Memorial Hall, Room 107
Monday 08:00AM - 01:00PM, Memorial Hall, Room 107
Tuesday 01:00PM - 06:00PM, Memorial Hall, Room 107
Rubens Ghenov
Monday 01:00PM - 02:00PM
Tuesday 12:00PM - 01:00PM
COURSE DESCRIPTION
Despite its short history, hip hop has had an enormous impact on global culture from the South Bronx to Japan to Africa. Some of the most vibrant, pluralistic aspects of postmodern life are drawn together under the aesthetic rubric of hip hop. In a mere two and a half minutes, one is able to hear politics, sex, spirituality, rants, praises, African rhythms, European melodies, video game sounds and excerpts from Kung Fu films. All compartments of life are brought together seamlessly without the obliteration of its disparate and unique elements. Within hip hop’s inclusive structure, the different methods of creating and recreating art include sampling, remixing, bricolage, narrative, collage, appropriation and pastiche. This potential for endless reinvention and regeneration is the basis and emphasis of this course. Students will be introduced to the history and methodologies of hip hop through documentaries (Style Wars, Scratch) and short readings by Nicolas Bourriaud, Cornel West, Russell Potter and Saul Williams. Each week new painting projects will be assigned that utilize the formal processes and methodologies of Hip Hop such as sampling, repetition, pattern, text, appropriation, pastiche etc. Other assignments will allow students to create a "moniker" —much like a DJ or an Emcee —in order to flesh out and “perform” personal narratives. The course will include class discussions, group critiques and slide lectures focused on artists such as Deborah Grant, Sanford Biggers, Trenton Doyle Hancock, Christian Marclay, Chris Ofili, Doze Green, Mark Bradford, David Ellis, Lee Quinones, MF Doom/Madvillain, Rakim, Aesop Rock, Digable Planets, De La Soul, and Antipop Consortium.
COURSE OBJECTIVES
During this course students will become acclamated with basic painting skills such as how to mix a palette, stretch canvas, prepare the canvas, work with layers and different medium, study color relationships, paint on found objects as well as look at painting critically, historically and contextually. The modus operandi for the class will be to utilize hip hop's rich history of djing, emceeing, breakdancing and graffiti in order to usher students into the medium of painting and simultaneously aid them in combining their specific interests through this medium. Being that every medium is different according to its specificity and purpose, painting will change the way students make things that they are accustomed to doing. This course is meant to guide students in this transition as well as look for ways to create new ways of investigating painting. We will break down certain concepts of hip hop such as sampling, repetition, appropriation and apply them to the medium of painting. We will be using acrylic paint in class and for the assignments, unless under some other agreement made with me.
COURSE REQUIREMENTS
Projects - Students are to complete 5 paintings for the course which they will be working outside of class. There will also be class assignments which I will help with painting issues.
Attendance - Students who miss 2 classes will automatically fail the course. If a student is sick, he/she must bring in a doctor's note. In case of H1n1 DO NOT COME TO CLASS, email or call me.
GRADING POLICY
A / Superior: Superior in every way. Self-motivated, responsible, disciplined, curious, resourceful. Far exceeds requirements of the assignments and instructor. Lively contributor to class discourse. Demonstrates dedication to personal improvement.
B / Above average: Willingly follows directions and completes all requirements of instructor and course. Substantive contributions to class discourse. Evident progress in work in response to criticism.
C / Average: Merely follows directions and shows no extraordinary initiative. Requires prompting from the instructor to fulfill the minimal requirement. Average solutions to assignments. Indifferent contributions to class discourse.
D / Below Average: Does not meet course requirements or assignments. Does not demonstrate initiative or positive attitude. Lacks interest in joining in course discourse. No noticeable improvement.
F / FAILING
CLASSROOM POLICIES
In order to stay matriculated in the class, students have to abide by the EHS policy as explained by Bill Miller.
Work area is to be cleaned after every session everyday. Students will not be able to keep their supplies in the class, therefore everything needs to cleaned at the end in order to be transported home.
Every student will have a space of storage in class that cannot exceed its boundaries due to the fact that there is another class in use of the space.
MATERIALS
Plastic mixing jars (3 alone for brush cleansing)
Synthetic and blended brushes (5 round, 4 flat)
Cotton duck canvas
Plastic large palette (18x24) with lid
GOLDEN acrylics (mars black, titanium white, mars yellow, pyrrole red, phtalo blue, anthraquinone blue, ultramarine blue, primary yellow, naphtol red medium + other colors you are attracted to)
Clear tar gel
Regular gel (semi-gloss)
Soft gel (gloss)
Rubens Ghenov
Monday 01:00PM - 02:00PM
Tuesday 12:00PM - 01:00PM
COURSE DESCRIPTION
Despite its short history, hip hop has had an enormous impact on global culture from the South Bronx to Japan to Africa. Some of the most vibrant, pluralistic aspects of postmodern life are drawn together under the aesthetic rubric of hip hop. In a mere two and a half minutes, one is able to hear politics, sex, spirituality, rants, praises, African rhythms, European melodies, video game sounds and excerpts from Kung Fu films. All compartments of life are brought together seamlessly without the obliteration of its disparate and unique elements. Within hip hop’s inclusive structure, the different methods of creating and recreating art include sampling, remixing, bricolage, narrative, collage, appropriation and pastiche. This potential for endless reinvention and regeneration is the basis and emphasis of this course. Students will be introduced to the history and methodologies of hip hop through documentaries (Style Wars, Scratch) and short readings by Nicolas Bourriaud, Cornel West, Russell Potter and Saul Williams. Each week new painting projects will be assigned that utilize the formal processes and methodologies of Hip Hop such as sampling, repetition, pattern, text, appropriation, pastiche etc. Other assignments will allow students to create a "moniker" —much like a DJ or an Emcee —in order to flesh out and “perform” personal narratives. The course will include class discussions, group critiques and slide lectures focused on artists such as Deborah Grant, Sanford Biggers, Trenton Doyle Hancock, Christian Marclay, Chris Ofili, Doze Green, Mark Bradford, David Ellis, Lee Quinones, MF Doom/Madvillain, Rakim, Aesop Rock, Digable Planets, De La Soul, and Antipop Consortium.
COURSE OBJECTIVES
During this course students will become acclamated with basic painting skills such as how to mix a palette, stretch canvas, prepare the canvas, work with layers and different medium, study color relationships, paint on found objects as well as look at painting critically, historically and contextually. The modus operandi for the class will be to utilize hip hop's rich history of djing, emceeing, breakdancing and graffiti in order to usher students into the medium of painting and simultaneously aid them in combining their specific interests through this medium. Being that every medium is different according to its specificity and purpose, painting will change the way students make things that they are accustomed to doing. This course is meant to guide students in this transition as well as look for ways to create new ways of investigating painting. We will break down certain concepts of hip hop such as sampling, repetition, appropriation and apply them to the medium of painting. We will be using acrylic paint in class and for the assignments, unless under some other agreement made with me.
COURSE REQUIREMENTS
Projects - Students are to complete 5 paintings for the course which they will be working outside of class. There will also be class assignments which I will help with painting issues.
Attendance - Students who miss 2 classes will automatically fail the course. If a student is sick, he/she must bring in a doctor's note. In case of H1n1 DO NOT COME TO CLASS, email or call me.
GRADING POLICY
A / Superior: Superior in every way. Self-motivated, responsible, disciplined, curious, resourceful. Far exceeds requirements of the assignments and instructor. Lively contributor to class discourse. Demonstrates dedication to personal improvement.
B / Above average: Willingly follows directions and completes all requirements of instructor and course. Substantive contributions to class discourse. Evident progress in work in response to criticism.
C / Average: Merely follows directions and shows no extraordinary initiative. Requires prompting from the instructor to fulfill the minimal requirement. Average solutions to assignments. Indifferent contributions to class discourse.
D / Below Average: Does not meet course requirements or assignments. Does not demonstrate initiative or positive attitude. Lacks interest in joining in course discourse. No noticeable improvement.
F / FAILING
CLASSROOM POLICIES
In order to stay matriculated in the class, students have to abide by the EHS policy as explained by Bill Miller.
Work area is to be cleaned after every session everyday. Students will not be able to keep their supplies in the class, therefore everything needs to cleaned at the end in order to be transported home.
Every student will have a space of storage in class that cannot exceed its boundaries due to the fact that there is another class in use of the space.
MATERIALS
Plastic mixing jars (3 alone for brush cleansing)
Synthetic and blended brushes (5 round, 4 flat)
Cotton duck canvas
Plastic large palette (18x24) with lid
GOLDEN acrylics (mars black, titanium white, mars yellow, pyrrole red, phtalo blue, anthraquinone blue, ultramarine blue, primary yellow, naphtol red medium + other colors you are attracted to)
Clear tar gel
Regular gel (semi-gloss)
Soft gel (gloss)
Modeling paste
staple gun + staples
canvas plyers
Gesso
COURSE OUTLINE
week 1
day 1/ Jan 4
Homework: - 3rd project
week 4
day 7/ Jan 25
week 5
day 9/ Feb 1
staple gun + staples
canvas plyers
Gesso
COURSE OUTLINE
week 1
day 1/ Jan 4
intro to class and a brief history of hip hop
EHS crriculum with Bill Miller
watch the film "Scratch"/Discussion
break down/discussion of hip hop elements and painting
discussion of sampling, pastiche + assignment
Artists: Christian Marclay, David Ellis
EHS crriculum with Bill Miller
watch the film "Scratch"/Discussion
break down/discussion of hip hop elements and painting
discussion of sampling, pastiche + assignment
Artists: Christian Marclay, David Ellis
QUESTIONNAIRE
Homework: - 1st Project:
- Take a beat/instrumental hip hop track you like and notice how dj's use sampling in making tracks, how long are the samples, what are the samples of, do they contrast, do they play for the entirety of the song, how many samples are chosen, how often is the sample repeated.
- Make a collage using images from a questionnaire I will give you (it will be posted here) and from magazines, newspapers, flyers, etc with the idea of sampling. Interpret the chosen track/beat as you see fit. Collage should be at least 10x15.
- Stretch a 24x36 canvas
day 2/ Jan 5
day 2/ Jan 5
QUESTIONNAIRE discussion
collage due (bring collage and beat - cd, flash drive)
crit on collage
collage due (bring collage and beat - cd, flash drive)
crit on collage
stretching canvas demo
work on 2nd project in class - Black, white and gray painting
work on 2nd project in class - Black, white and gray painting
Homework:
- Read excerpt from Postproduction by Nicolas Bourriaud (link)
Chapters:
.Introduction
.The Use of Forms
- 3rd project - Sampled Painting
- In this project you are to sample bits of paintings from the cannon of art history in order to make a painting. Think of juxtaposition, appropriation, sampling and remixing. You can use up to how many paintings you feel comfortable but no less than 3.
- bring lyrics of your favorite hip hop song to next class
week 2
day 3/ Jan 11
week 2
day 3/ Jan 11
2nd project due
crit
crit
Homework:
- Bring in 10 cropped shots of graffiti and/or screen shots of movies
- 30x30 stretched canvas
- all your paints, medium, brushes, palette, etc.
day 4/ Jan 12
day 4/ Jan 12
Paint in class assignment - Paint cropped shots of graffiti on canvas
watch "Style Wars"/discussion of graffiti, breakdancing
Artists: Mark Bradford, Deb Grant, Doze Green, Christopher Wool, Tauba Auerbach
Artists: Mark Bradford, Deb Grant, Doze Green, Christopher Wool, Tauba Auerbach
Homework: - 3rd project
- text paintings (graffiti, lyrics), pattern, rhythm + repetition on record covers
- buy 10 vinyl records with cover from Salvation Army, Saver's, etc
- put the covers together in your own way
- Take no more than 8 words from your chosen lyrics and make a painting using its text
- Treat the color as if it were the instrumental track under the text
- Treat the color as if it were the instrumental track under the text
- Use both the colors of the record covers and paints.
-Read excerpt from Saul Williams' "The Dead Emcee Scrolls"
week 3
day 5/ Jan 18
Martin Luther King's day
Paint in class assignment graffiti crops
day 6/ Jan 19
3rd project due
crit
discuss long term project
- taking on an persona
- moniker/alias
- combine autobiographical with self made narrative
- elements must come from personal identity, pop culture
crit
discuss long term project
- taking on an persona
- moniker/alias
- combine autobiographical with self made narrative
- elements must come from personal identity, pop culture
Homework:
Bring materials that are related to you as if you were gathering information to make a non traditional self portrait. Here are some ideas, but do not be bound to simply these:
- internet finds that you've collected
- family background (photo, historical data, images of birth place)
- things related to your major (fabrics you've printed, sketches)
or things from your:
- spirituality
- likes and dislikes
- political stances
- food preferences
- fashion
- relationships with people
- disabilities
week 4
day 7/ Jan 25
Room 110 (Goldberg) at the library. BE THERE AT 8:30AM SHARP!!!with
- look at artists that deal with an invented persona (MF Doom, Dr. Octagon, Quasimodo, Rammellzee, Trenton Doyle Hancock)
- discuss long term project
- taking on an persona
- moniker/alias
- combine autobiographical with self made narrative
- elements must come from personal identity, pop culture
- taking on an persona
- moniker/alias
- combine autobiographical with self made narrative
- elements must come from personal identity, pop culture
day 8/ Jan 26
work in class assignment (FINISHING UP CROP GRAFFITI PAINTINGS)
Bring painting materials to class
Homework:
current pastiche + appropriation
4th project - appropriate art historical paintings in a pastiche like manner.
4th project - appropriate art historical paintings in a pastiche like manner.
- For this painting you need to stretch your own canvas
- Read excerpt from Russell A. Potter's Spectacular Vernaculars
day 9/ Feb 1
crit of 4th project and explanation of final project
day 10/ Feb 2
students will give a presentation on the research of their final project
.20 - 25 images
.talk of readings, influences, discoveries and personal process of painting
week 6
.20 - 25 images
.talk of readings, influences, discoveries and personal process of painting
week 6
day 11/ Feb 8
FINAL CRITS
day 12/ Feb 9
FINAL CRITS
No comments:
Post a Comment