syllabus

ARTS221
Spring 2012

M/W 11:45-1:35

The University of Vermont

Williams Hall 213

Professor Pamela Fraser

Office address: first floor Williams Hall

Email address: pfraser@uvm.edu

Office hours: by appointment

Dear students,

I propose that this painting class is a session on meaning and significance. This class is not about making images/objects without consequence, it is not to ‘relax’, or to have ‘fun’ (though you may enjoy it). Taking the class seriously does not necessitate that the meaning you discover and develop will be elevated, serious, weighty, profound, political, emotive, or immediately impressive (novice efforts that attempt such grandness often turn out a bit ham-fisted anyway). Instead your task is to locate and develop specific meaning, and for each of you to define what meaning actually is, on individual terms. Consider the work you do here propositions toward those ends.

Imperatives for the duration of the course: move beyond the broad-brush ways historical and contemporary art is customarily talked about. Forget self-expression; consider art a realm of sharing and communication. Forget about notions of art as utterly solitary, art that cannot be discussed or cannot be understood. We are in a group setting and our task is to connect with and challenge each other. Forget vague, indistinct notions of creativity, of ‘being creative’, and of “expressing yourself”. Forget the idea that every mark put down on a canvas is automatically of interest. To succeed in the class, you must develop work; the first ‘draft’ is rarely cogent. You must also be interested in learning more about what art has been and what it might become, for yourself and others.

Engagement with the subject of painting in philosophical, historical, and global contexts is a pre-requisite for the class. This class is actually about wondering, growing, learning, thinking, thought-provoking, taking part, being open, and being committed. A class for those interested in being mindful and inquisitive as they learn about and get absorbed with these specific materials, histories, and dialogues. Of course, these are all simply the values and attitudes one would hope for around any subject in any learning environment or institution.

Art is a tricky field of study; it’s one of few subjects I can think of where students of all levels come to courses feeling they already know the field. I have experienced countless students disparaging art and artists whose work they have just been introduced to. I suggest trying to understand context and intent before such dismissals. Not that art can’t be disdained, but rejection isn’t meaningful or interesting coming from an uninformed point of view. I have also experienced many students who expect that a painting class will be a place where they do what they already know how to do. That’s like taking a foreign language class at a lower level than you are capable of (not unheard of, I suppose).

The class is not for you if you think nothing carries meaning. Also, the class is not for you if you think all meanings are pre-determined. As you develop your own work and look at the work of others, be cognizant of conventions and tropes that may be weak, bland, or superficial. Be aware of the historical and categorical dimensions of traditions you are operating within. You may do any kind of work that you like in the class, if you can articulate the value of it. This value must be valuable to a larger circle than just you. You must be able to use words, and to use them well to argue for what you believe is significant, meaningful and/or important. You decide, of course, what is meaningful. It doesn’t have to be with a capital M. You may want to argue the value of fun and relaxing art, and that would be just fine, if you argued it well. There is no absolute meaning, but myself and your peers will decide is your ideas are lucid and convincing. Argumentation exercises your reasoning abilities, working toward your artworks containing their own/your logic.

Sincerely,

Professor Fraser

Lastly, a postscript: much of my artwork celebrates the realm of the lighthearted; so I reiterate that you need not collapse serious intent with necessarily heavy work. Great works can and are made around any and all subjects, part of what makes contemporary are so exciting (more on that later).

And a note on working habits: a successful practice rests on regular PRACTICE. Therefore, a portion of your grade rests on the consistency off your work habits. If you come to

class on a Monday with little or no work done on an ongoing project, this will affect your grade. Many students seem to believe they can just pull something off at the last minute. Good work pretty much always depends on a consistency of effort, developing something over time, with edits and augments along the way.

Modes of working will include Observation, Memory, Mediation, Anti-Aesthetics including discussion of Modernism and Postmodernism, Appropriation and Culture. After initial two assignments, subject and material choices will be independent within specific guidelines.

Class time will be used for work time, as well as for lectures, discussions, and demonstrations. Students will be expected to work a minimum of five hours a week outside of class time. This time is to be used procuring materials, researching art, artists and/or materials, drawing, and working on painting assignments. Development in the course will be based on consistent practice and discipline.

Grading

A=outstanding accomplishment, innovative thinking,
strong participation, full attendance, excellent progress
B-above-average accomplishment, solid participation,
full attendance, good progress
C=accomplished all assignments, average participation,
full attendance, little progress
D= lack of completion or accomplishment in assignments,
disinterested participation
F=failure to complete basic course requirements and/or attendance

Projects 50%/ Your painting and writing projects should represent growth in technique, imagination, and intellectual rigor.
Participation and Practice 50%/ You are expected to contribute to dialogue in critiques and discussions. Participation is also represented by commitment to regular and habitual practice. This means working consistently, not sporadically.

Attendance

Good attendance is presumed and not reward in the final grade calculation. Poor attendance will affect the grade adversely. After two unexcused absences, one's grade will drop one letter from the level that has been earned. Arriving late, or unprepared, or leaving class early is also unacceptable and will result in a lowered grade if routine behavior. Three times late, leaving early or being unprepared will equal one absence. After five unexcused absences, one may fail the course.

Absence from class is not an excuse for not handing in a due assignment, or for not knowing about a new assignment. If you miss class, check the blog, and/or e-mail me to find out what you missed. Late work is not accepted and one will receive an “F” for a project if not handed in on due date and time.

Critiques are MANDATORY. Missing one of these class sessions equals two unexcused absences.

Materials

Your lab fee of $65.00 covers wood for stretcher building, canvas, gesso, sandpaper and staples. You must purchase a notebook/sketchbook of any type. Other materials are at your discretion.

Miscellaneous

• Heed woodshop rules

* Music with headphones is acceptable but be attentive to announcements.

* No phones, no laptops, no texting, no use of handheld devices except for emergencies. Please put on silent mode.

* When a student is unable to attend class for a health reason, the student may give permission for the instructor to discuss the situation with a representative from the Center for Health and Wellbeing. As with all absences, the faculty member has final authority to excuse students from classes.

*Religious Holidays: Students have the right to practice the religion of their choice. Each semester students should submit in writing to their instructors by the end of the second full week of classes their documented religious holiday schedule for the semester. Faculty must permit students who miss work for the purpose of religious observance to make up this work.

*Athletic-Academic Conflicts: Students participating in inter-collegiate athletics should plan their schedules with special care, recognizing the primary importance of all of their University academic responsibilities. Each semester, members of UVM varsity and junior varsity teams are responsible for documenting in writing any conflicts between their planned athletic schedule and the class schedule to their instructors by the end of the second full week of classes. Students and instructors should then discuss potential conflicts between course requirements and intercollegiate competitions. When an unavoidable conflict exists, the student and instructor should seek a resolution that permits the student to address the course requirement and participate in the athletic competition. The instructor has final authority on this matter.

*Quoted from the Undergraduate and Graduate catalogue: www.uvm.edu/academics/catalogue2002-03/?Page=policies/acgisturespon.html

AN IMPORTANT NOTE - If you have (or suspect that you may have) a disability forwhich you are or may be requesting an accommodation, I encourage you to contact both myself and UVM’s Office of Accommodation, Consultation, Collaboration & Educational Support Services (ACCESS), A-170 Living & Learning Center, 656-7753 (http://www.uvm.edu/~access) as early as possible in the term. The ACCESS Office will verify your disability and determine reasonable accommodation for this course.