Sample assessment form- Please review

The same categories will be applied for Fall 2019!

Chwast at BU

Seymour Chwast: Works of War

March 28 – May 18, 2019

The Binghamton University Art Museum will open its spring exhibition at a reception on Thursday, April 4, 5:00-7:00 pm. Both the Main Gallery and the Susan M. Reifer '65 and Stanley J. Reifer '64 Mezzanine Gallery will feature artwork by renowned American graphic designer and illustrator, Seymour Chwast. The exhibition was curated and designed by Blazo Kovacevic, associate professor of art and design at Binghamton University. Although Chwast might be best known for his commercial work, the exhibition features large canvases, prints and drawings in which the artist expresses his concerns about the persistence of armed conflict and the proliferation of weapons of war. The artist will be present at the opening reception and will engage in a conversation with art director, critic and author, Steven Heller. Seymour Chwast: Works of War is accompanied by a catalogue, published by the Binghamton University Art Museum, which includes an introduction by the curator and an essay by Steven Heller.

In conjunction with Seymour Chwast: Works of War the Binghamton University Art Museum will host two programs. On Thursday, April 11, 7:30 pm, the Binghamton University Chamber Singers and Treble Chorus, directed by assistant professor of music William Culverhouse, will perform "Choral Commentary: A Program on Themes of Peace and Justice." The following two days, Friday-Saturday, April 12-13, the museum is offering a SUNY Conference: Technologies of Human Rights Representation. Organized by the Binghamton University Human Rights Institute, the full program can be found online at https://www.binghamton.edu/institutes/hri/index.

All events are free and open to the public.https://www.binghamton.edu/art-museum/read-more.html

The Museum Visit Paper:

The Museum Visit Paper:

The content of the paper should include:

Introduction:
Be brief and to the point, write tight and bright.
Explain your museum choice include what compelled and drove you to the work you selected!

Comprehensive content:
Explain and define the painting and movement, the contributors and any social trends relevant to that period!
Contextualize your report, use the 3 (Is) framework, address the Impact, Interest and Importance of the painting.

The formal elements:Use the formal elements http://www.getty.edu/education/teachers/building_lessons/formal_analysis.html as a foundation for your discussion, especially when discussing the esthetic of the painting, include opinion if appropriate! (ie; discuss color, medium, surface tension, brush stroke, include emotional and technical impact if relevant).

Conclusion:
Wrap it up, your conclusion should be historically rooted but infused with opinion, and there's no shortage of opinion in this class, so let it come through in this statement!!! This can be forward looking, too. Evaluate if  there's something you could extract from this exercise and apply it to your next painting!

Refer to the MLA style guide for style and citations:
Use the MLA Style Guide as your citation reference and for other traditional formatting questions: 
MLA Handbook for Writers of Research Papers, 7^th edition or later is fine, published by the
Modern Language Association of America (MLA).
You can find copies in the library’s reference and circulating collections,
call number PN147 .G53 2009. Or use link: 
http://sunybroome.info/library/guides/mla-style-guide

Objectives: Organize a thoughtful statement based on the visit, research and critical thinking.
Craft a minimum 400 word statement- must be typed and printed.
Include a selfie of you and your selected work, in-turn the image should be used as a cover-page for the report.
Cover-page should include, report title, painting title (proper citation), your name, the class and the date.

Statement due May 18 at 1:00 pm.

Have fun and be informed!

Qualifying museums:
Johnson Museum
Arnot Museum
Metropolitan Museum

Pre approval-
Binghamton, or other

Value review

https://vimeo.com/227462986

Please review by 02/11 before class meets.

Rembrandt:
https://www.nationalgallery.org.uk/paintings/rembrandt-self-portrait-at-the-age-of-63

https://www.metmuseum.org/toah/hd/rmbt/hd_rmbt.htm

Wayne Theibaud

https://www.youtube.com/watch?v=vI_QJ5D9Qm8

Review this video, some interesting concepts are discussed-

ART 116 01 Painting Spring 2019

ART 116 01 Painting
Professor David Zeggert

LOCATION: Old Science Building 205

EMAIL: Zeggertdp@sunybroome.edu

607 768 3868 call until 9pm

Monday and Wednesday 12:30-3:20 pm, Old Science Building 205

Office hours will be posted on my office door, Old Science 106B

Course description:

This course is designed to investigate painting as an expressive medium rooted in both traditional and contemporary views of fine art painting.  It also serves to expand student’s knowledge regarding the role of fine art painting within today’s art world.  The emphasis is on the tradition of observational painting (painting from life) achieved through regular painting assignments, text and critiques. Personal approaches to specific problems are encouraged and explored through classroom projects. Areas of study include still life, figure and portrait.

Learning Outcomes:

Investigate paint through the investigation of a subject.

Apply the nature of painting to the creation of individual artwork. Use the creative process to explore ideas and the development of an idea.

Implement the principles of visual representation

(Composition, drawing, value contrast, value transitions, tone, and color use)

Utilize the elements and principles of design.

(line, shape, value, texture, color / light, text, balance, unity, rhythm, repetition, variation, pattern).

Mix colors and tones that reflect the understanding of the following color theories: monochromatic, primary, secondary, complimentary and temperature.

Explore compositional problems (appropriately compose a picture so that it advances the idea of the painting).

Implement various painting techniques, including various methodologies of paint application, and color usages.

Recognize notable contemporary and historical artists that work with the medium paint.

Be introduced to various professions relating to painting.

Apply knowledge acquired in relation to painting to other art forms.

Course Objectives:

To learn through exploration, application, analysis of text/online sources and application of the concepts presented.  Learning to see, visualize and create with tools/skills acquired in class.  In short, hone your skills and become a better painter.

Assignments could include reading text, discussion and a critique.  We will use a creative process to solve each assignment.

Most classes will be divided into several parts; studio-time, assignments and critique. Painting and creating will be at the core of the class.  With a strong emphasis on mastering the tools of the trade (listed on the supply list).

Introduce and/or refine rendering skills, understanding and stating value, shape, form, achieving this through the use of paint and painting devices.

I expect you to venture from your safe zone, both in ideas and technique.  We will critique in class and revisions will be part of the process.

When you have completed the course you will:

Understand Painting as a medium that communicates, and can be expressive, have completed a strong drawing and paint foundation, explored various approaches, be familiar with past and present artists/painters/drawers, become a member of a very prestigious painting and drawing tree.

Expectations:

You are expected to positively participate in the class, improve your skill level, and apply yourself.  You are expected to be creative thinkers, problem solvers and resourceful.

Grading:

The bulk of your grade will be based on the major assignments (see projects). I expect improvement this semester, no matter what your skill level is at the beginning of the course. You will be evaluated on your skill, attitude and effort as well. The process is as valuable as the idea and technique. Your growth as an artist can be measured very broadly. I will be available for continuous advice, either by email phone or office hours. Call no later than 9 pm. Email and office hours are preferred.

If you need to discuss your grade, see me during office hours or send me an email. I will not use classroom time to discuss your grade.

Evaluation of Paintings:

The areas outlined above represent broad areas of evaluation.

Instructor will convey specific criteria for individual projects and exercises when appropriate.

Your paintings must show evidence of GROWTH, including an understanding of the–

Elements of Art and Principles of Design (line, shape, value, texture, color/light, text, form, balance, unity, rhythm, repetition, variation, pattern)

Principles of Visual Representation: (establishing form, depth, composition, drawing, value contrast, value transitions, textural variation, tone, and color harmony)

Basic Color Theory and Facility of Paint Mixing:  (color theory model will vary according to individual painting exercise)

Method of Paint Application: (i.e., type of brushstroke used)

In addition, credit will be given towards evidence of growth from one project to the next

Classroom grade:

The classroom grade equals four categories based on expectations. The categories are 25 points each. It will be factored with your project grades at the midterm and/or the end of the semester. You will complete four or five projects so this grade does carry weight, (i.e., if your facilities are not as developed as others the classroom grade may help boost your overall grade).

Midterm:

If needed, we will review your progress, areas to improve and attendance.

Projects:

Each assignment will have different expectations and aspects to it. Some assignments will be written; some will be articulated, requiring you to take notes, some will have conceptual demands. Others might have skill demands and others may have a deadline demand. You’ll be graded on the aspects of each assignment as it applies, similar to the point system mentioned above. The project grade and classroom grades will equally

factor in to make up your final grade.

Lateness:

This is critical, simply put, if you miss a deadline, you could lose 50 points off the final grade. Defined, the project needs to be complete at the start of the class the day it’s due, no exceptions, unless noted.

Attendance:

I will give you two unexcused absences. The third miss is an automatic failure. The attendance policy is a no tolerance policy. Chronic lateness may add up to an unexcused absence.

­­If you have perfect attendance you will be curved up to the next letter grade.

If you miss a class it becomes your responsibility to get the information from that class. I suggest you make arrangements with another student. I’m not going to use class time to bring you up to date.

If life interrupts your school schedule, let me know and we can make arrangements. You must complete all assignments to pass this course. Don’t abuse this privilege. We will go over absences at the mid-term meeting but,

YOU ARE RESPONSIBLE FOR KEEPING TRACK OF the classes you missed.

Remember not to make appointments during class time.

You are expected to remain in the classroom for the entire class period, unless other instruction is given, leaving early is considered being absent.

Studio Rules / Cleaning Brushes and Oil Paint:

Students must clean their work areas before leaving the studio.  That includes putting away easels, palettes, and other equipment.

Students should clean the mixing areas of their palettes and tables at the end of a class or work session.

Brush Cleaning and Care:

Wash your brushes thoroughly with soap and water at the end of each session.  However, prior to washing your brushes with soap and water, remove all excess oil paint from the bristles with paper towels or a rag.  When you proceed to actually clean your bristle brushes with the soap and water there should be very little oil paint remaining in the bristles. 

Make sure that you have cleaned your brushes in the mineral oil before you give them a final wash at the sinks.
Repeat with mineral oil.

Paint Clothes:

Protective clothing may be worn to avoid getting paint on your good clothes or designate paint clothes.

Oil saturated rags and towels: (could be a fire hazard):
https://en.wikipedia.org/wiki/Spontaneous_combustion

Place oil saturated rags and paper towels in the firebox, next to the sink.

Cleaning tip: use toothpaste to help remove paint from clothing

DO NOT TOUCH THE STILL LIFE SET UPS!

No work or personal property may be left behind after the term is over with the expectation that it will be stored or kept by the department. We do not have the room 

Online component:  Links of interest

This is required.  Students are required to e-mail me at:  Zeggertdp@sunybroome.edu
By sending me your email address, if needed, it allows me to develop an email group of the class members to be used for updates and/or inform of a class cancellation.

Email should include biographical information.

Listed below are several sites of interest, during the semester, I’ll email you more links relative to what we are studying at the time.

Students will be required to visit the following web sites below.

http://www.gamblincolors.com/

http://www.gamblincolors.com/newsletters/studionotes13.html         

http://www.artchive.com/

http://artrenewal.org/

http://art116painting.blogspot.com/

Your success is my goal!!!

Supplies:

http://www.dickblick.com/lists/blicku/3CAHLID5DKOU1/publicview/

Light source:

Clamp light   can be purchased at Lowes

Natural light bulb, 60 watt or above

(consider a variety pack including various wattage bulbs)

Clean up:

Mineral Oil: CVS

Folder:

Used to organize handouts and notes

Other:

Other Required No cost supplies 

Paper Towels, dish soap (provided)

DATE week 1 CONTENT

Class 1

Introduction, cover syllabus, complete bios., course overview

HW:
Bring to the next class an example of your work.

Send me your email address with bio. info. noting Spring Art 116 in the subject line

Order supplies immediately. (Due: 0206)

Select a painting from  http://www.artchive.com/   print the image (in color) and be prepared to discuss the work and painter.  Include what you discovered from the painting such as paint quality, aesthetic, composition and light source, and/or describe your initial response to the work and why you selected the work. Summarize your thoughts in a typed statement, at least 400 words, the image needs to be in color

READ THROUGHOUT THE SEMESTER: 

Painting Definitions: (Cut and paste url)

http://www.sanders-studios.com/instruction/tutorials/historyanddefinitions/historyofoils.html

DATE week 1 CONTENT

Class 2

Crit., hand in statement and color proof for a grade

Student Intro. and show work, (if needed continue next week).

Week 2 CONTENT

Class 1
Student Intro. and show work, (if needed continue next week).

Week 2 CONTENT

Class 2

Begin Value, lighting & general concepts and definitions discussed

Value sphere exercise, painted in studio and/or value string, cool temp. as scale 0-11, painted in studio

Next class: Studio exercise: small still life, establish form 

Continue to read research and investigate links

Week 3 CONTENT

Class 1

(Supplies due for a grade) and bring to class a 8 x 10 canvas, plus raw umber and white, and paint material/tools 

Studio still life, establish form using fruit and items as the subject

Continued or new 8 x 10 canvas, Studio still life, establish form using fruit and items as the subject

Discuss brush as a functional tool- deliver, move or remove paint

Read: Color

http://char.txa.cornell.edu/language/element/color/color.htm

HW: 16 x 20, paint three objects. Objective to represent your acquired skill set

Due for critique and grade at the beginning of the next class (Raw Umber and white)

One object should be vertical

Lapis Lazuli to Ultramarine Blue

Lapis Lazuli to Ultramarine Blue

Ultramarine Blue is one of the most storied pigments in art history, coming from lapis lazuli in Afghanistan as early as the second century BC. The name comes to us from the Italian, oltre marino, or “beyond the sea.” During the Renaissance, it was the most expensive pigment used. When the patron requested Ultramarine Blue be used in a painting, the contract would state where it was going to be used and how much money was going to be made available for the purchase of the pigment. Sparked by a competition across Europe in the early 1800’s, a synthetic alternative was developed which has been known as Guimet’s Blue, French Ultramarine Blue, and today it is simply known as Ultramarine Blue.

But I think that even without any of this history, Ultramarine Blue would still be the most used color after white on the artist’s palette.

Check out the link for the complete story!

https://gamblincolors.com/praiseofultramarineblue/

Source: Robert Gamblin