NEWS April 2-11 /Links for students and reminders

Reminders--Register this week for non major classes.
There are two more weeks of regular classes. Reviews for Sophomore and Junior painters will take place M-W May 14-16. Watch for critique sign up sheet on the office bulletin board. I will be doinf the Monday and Tuesday sessions.

FRIDAY APRIL 20
LECTURE @ 6pm
THE BEAST IN CONTEMPORARY ART
SIMON SCHAMA
ICA Tuttleman Auditorium 118 S. 36th St., Philadelphia Free and open to the public
An acclaimed historian, cultural critic, and scholar, Dr. Simon Schama has published widely on a range of topics, from early modern Dutch landscape painting to contemporary art. A graduate of Cambridge University, Schama has taught at Cambridge, Oxford and Harvard universities and is currently University Professor at Columbia University. In addition to scholarly works such as Landscape and Memory (1995)
WEDNESDAY APRIL 18
Closing reception for Jerry Herdman "Jerry with a J" Pizza Party Gallery 817 11:30-12:30
VISITING ARTIST, Cora Cohan Slide talk 1pm Hunt Room
Afternoon group critique 2:20-4pm

Update--Congratulations Rachel Miller, Ted Carey Prize winner.
ALERT-- look for information posted at the fine arts office about the scholarship competitions coming up very soon.

TUESDAY APRIL 3 DON'T MISS THIS
Drew Lowenstein speaks about his work 4pm CBS auditorium.
Drew teaches part time--Jr. Seminar and Drawing References
Recent writing of his online:
http://www.artcritical.com/lowenstein/DLSpanishPainting.htm

IMPORTANT "Distinguished art critic Donald Kuspit places Thomas Chimes in the historical context of modern and contemporary art."
Wed. April 3, 11am
ABSTRACT DRAWING CLASS- let's go to this lecture.
ALL---Exhibition to see this week
Thomas Chimes at the Philadelphia Museum of Art
Extrordinary show of remarkable Philadelphia artist.

Sign up for April 11 Bus trip to NYC 12$. Be there!

WEDNESDAY APRIL 18
11:30 closing reception/PIZZA PARTY for Gerry Herdman's Gallery 817 exhibition
alsoVisiting Artist Cora Cohen
Speaks about her work 1pm
CRITIQUES BEFORE AND AFTER FOR JUNIORS AND SENIORS
Group crit 2-4pm
Also
VISIT THE ICA
Institute of Contemporary Art
Visit us online at www.icaphila.org
Institute of Contemporary Art · University of Pennsylvania
118 S. 36th St., Philadelphia, PA 19104-3289 · 215.898.5911

Abstract Drawing March 21

Weeks April 18-May 2
As we discussed, your last project will be self directed and based on the concepts and processes that we have discussed this semester.
April 11-18 The Presence Absence project.
WEEK of March 28-April 11
Mapping project as per our discussion.
REARRANGE
Our last in class project involved shifting of abstract imagery within the rectangle by dividing the page and rearranging it. The important new skill to develop was your ability to see, link and re-form the white shapes--in other words, the negative shapes.
Out of class project for critique the week of March 19:
Begin with a rectanglar paper and scissors. Cut the entire rectangle into regular or irregular shapes before drawing on it. (Actually, you are drawing, only with a scissors). Create an irregular shape out of all the parts that you fine interesting and are able to respond to visually. Tape on the back temporarily. Respond to this new format by drawing (abstractly) on it. Of course you are very aware of the edges. If you wish, rearrange the parts again. Redraw, rearrangle.
When you are drawing refer to your verb lists and add to those lists. What is the activity or behavior of your lines. What are the forces?

Bring large paper to class. Get a role of strathemore paper.
I will demonstrate hinging and glueing with methlecellulose paste and japanese paper.

Junior Painting Syllabus

Junior Painting
Horvath
Tuesdays 1-6:50
FAPT Spring07
Sharon Horvath shorvath@uarts.edu
http://sharonhorvath.blogspot.com/
Office hours Wednesdays 4-7pm or by appointment
JUNIOR PAINTING/WORKING THROUGH
Students please
Send me your email address
In this second semester painting course, you will have one initial project and then work in a more self directed manner throughout the semester. I will ask you to outline and articulate your interests and describe your plans as clearly as possible. Most importantly, I will help you individually WORK THROUGH your ideas: from the seed of an idea to full fruition.
BEGINNING
Revisit a formal approach that is characterized by a development from flat to illusionistic space.
Stage one- Identify your source painting. The more complex the composition is, the better for you.
Work from:
Your previous painting
Or A painting from the The Philadelphia Museum of Art. Make drawings there and only then find a repro
Or Collaborate with another student: both of you work from the same source.
No awful printouts from the internet!
Reinterpret/copy the painting, turning all the forms and spaces into flat shapes, paying special attention to negative “in between shapes. Break everything down into puzzle-piece type shapes that interlock. This should be a large canvas. (please no found surfaces unless you have a very good reason) Make studies first.
Possible Topic:
Peaceable Kingdom or the Apocalypse (or after) In other words, the themes are Creation, Peace, or Destruction, the end.
PHASE TWO:
Week 2-3: Glazing--Layered Transparency and Opacity.
El Greco examples

Drawing References

March 28

Alterations/Operations
Take your drawing and transform it though:

Inversion (upside down)
Reversal (of perspective, figure/ground, etc)
Inside out
Mirroring
Doubling
Exchanging front and back

You will have to invent a process for how to proceed.
For instance, you might, if you are depicting illusionistic space, try entering your drawing with your minds eye, then turning around and looking out from the inside. The idea is to radically shift the spacial orientation and test the organization of your ideas. What is your point of view? Change it. What is in front and what is behind?





Dr. Ref.
Spring 2007
Horvath
Wk 1
MAP OF INFLUENCES
Wk 2
OPTIONS
Focus in on one locus of your map. Explore this subject in a variety of ways- the literal to the abstract. How many ways can you represent this area of interest?
OR
Make combination/composite drawings. Combine images, processes, etc to make a third thing. Can you make a composite form? Or will you combine through layering?


POSSIBLE FUTURE PROJECTS

HEAVY HEADS
Make four drawings, each of one object, from observation. Choose objects for their visual interest and varying visual weight. For instance: feathers, boulders, heads, clouds, seaweed, balsa wood, petrified wood, etc. etc.
Same medium for each drawing.
Same size paper for each drawing.
Remember, these drawings are markers that show where you are with your observational drawing skills. You should challenge yourself and be at the top of your game. Otherwise, you’ll have to do it all over again, which you might want to anyway, because you are enjoying this.

Mad Lib Artist Statement
Word list
1. Type of idea or concept
2. Noun/concept
3. Kind of experience
4. Material/substance
5. Material/substance
6. Material/substance
7. plural noun
8. image/place/smell/feeling
9. Noun
10 Noun or nouns
11. Kind of project activity or work
12. Kind of story
13. Process
14. Noun
15. Adjective
16. An artist, person or phenomenon
17. Adjective(s)
18. Idea

You can modify and extend this game.

Abstract Drawing Early semester projects

Abstract Drawing
Week 3-4
Horvath
TRYING CHANCE
The unintentional into the intentional.
Wet Media
Try to have a drawing accident. ( Blot, pour, stain etc etc.)
Try to repeat it.
Repeat it until it becomes part of a plan, a structure or a sequence.
Gain control of rhythm, INTERVAL, POSITIVE AND NEGATIVE SHAPING, relationships, tensions.
Use Ink or diluted acrylic or any other media.. Use sheets of paper or larger paper from a roll (Strathmore is okay)
Work on a flat surface. Expend energy and thought. Draw with your whole arm and body. (that is where the rhythm originates!)
Use brushes and other implements to bring ink to paper: Balls, straws vegetables etc. (No footprints please)

ABSTRACT DRAWING
Check outDrawings of
Julie Mehretu Brice Marden Cai Guo-Qiang Arturo Herrera Matthew Ritchie
Week One
Let us leave aside for the moment the question, “What is abstract?” and speak about what is drawing?
Read first paragraph of C. de Zeghers
From “Drawing as Center”
Discuss drawing as gesture, loss, and reach. What does this mean?
Project Draw the “gestures” between objects. Explore the in-between spaces with line. Locate shapes and energy. Connect eyes hands and reality. See the gaps clearly, don’t make up relationships, but respond to specific intervals. Where will you go to find interesting gaps, interstices, and intervals? Leave the building. Immediately.
Just kidding. You don’t have to move at all. Paper—let’s go shopping
You must experiment with a variety of papers. And tools.
Realize that the surface you work on is as responsive as skin. Your drawing tools are extensions of your hand and body.
Project and Out of Class work for next week
Go ouside of your regular environment or into a place AS IF you are seeing it for the first time. Continue drawing as we did in class, draw the spaces in between. Think about this: are you drawing empitness or fullness? Are you drawing empty space or the relationship between things? Draw for three hours all through the week. It is best to draw a bit each day.