This course doesn’t aim to make skilled artists. The 7 crits, the final project, and the short papers account for about 70% of the grade, the rest being class participation and art projects. They will make art which will be subject to regular crits where students will put their work up on the wall and speak about its process, meaning, and place in art history. Students will read and discuss their reading in the traditional way–as well-informed critics. Kellie Jones, Eye Minded: Writing and Living Contemporary Art Olav Velthuis, Talking Prices: Symbolic Meanings of Prices Powell, Cutting a Figure: Fashioning Black Portraiture Nav Haq, ed., Kerry James Marshall: Painting and Other StuffĪnne D’Alleva, Look! The Fundamentals of Art History Its aim is not to make skilled artists, but to provide a materials-based, tactile experience of art making and its evaluation.ĭavid Bindman and Henry Louis Gates, Jr., eds., The Image of the Black in Western Art: The Twentieth Century Given the historical centrality in African American art of representations of black bodies, the course pays special attention to figuration and portraiture. Combining actual making with art criticism and an examination of the circulation of contemporary art, particularly the of work of black artists, this seminar is structured around fundamental art concepts such as line, color, illustration, abstraction, multiples, beauty, and meaning.
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