Lemons in Primary Colors [Painting I]
Lemons in Primary Colors [Painting I]

Students painted three lemons on a single panel, in each of the three primary colors, using complementary colors to create darker values.

Sarah Thomason, oil on masonite, 8 x 24 in.

Vanitas [Painting I]
Vanitas [Painting I]

After looking at images of still lifes through art history, we discussed the tradition of the vanitas. Students then assembled objects and made and painted their own vanitas still lifes

Olympia [Painting I]
Olympia [Painting I]

After comparing Titian’s Venus of Urbino and Manet’s Olympia in the context of the gaze, we divided a poster of Olympia into parts, which were gridded and enlarged, and painted by individual students, in oil on paper.

Final project [Painting I]
Final project [Painting I]

For our final project, students devised their own subjects, with the criteria that the work be composed of a sequence of images.

Jessica Wertz, What’s Left on the Plate [detail], oil on canvas, 8 x 10 in. each, a series of six

Final Project [Painting II]
Final Project [Painting II]

For their final projects students were free to choose their subjects without restrictions. They did a series preliminary oil sketches, which were presented and discussed in class. They then completed the final painting.

Justin Grunberg, American Pastoral, oil on canvas, 40 x 30 in.

Expressive Figure/Painted Collage [Foundation year]
Expressive Figure/Painted Collage [Foundation year]

Students worked from reproductions of the figure from art history, history, and comics. They were dealt out like cards, to create a small group of images thrown together by chance. Students then drew from the images on a single sheet, to create a “collage.” They then added a painted element, with an eye to using subtly mixed hues.

Opal Workman, Painted Collage, pencil and acrylic on paper, 24 x 18 in.

Map and Window [Foundation year]
Map and Window [Foundation year]

Students chose a character, which could be from history, literature, myth, comics, or games. They then created a digital collage that told the character’s story, combining surface-affirming “map” images and surface-denying “window” images. They printed their collages and then added a hand-painted component.

Robyn Young, Jeanne d’Arc, acrylic on digital collage printed on paper, 18 x 24 in.

Experimental Painting
Experimental Painting

At the beginning of the semester, students chose and researched a character. Over the course of the semester we worked with that character’s story and attributes to make work in diverse media.

Frank Baron, Hammer for John Henry, house paint on canvas, 23 x 42 in.

Experimental Painting
Experimental Painting

See previous note.

Loredana Gasparotto, Psyche, transfer, acrylic, iodine, and marker on wood, 24 x 24 in.

Experimental Painting
Experimental Painting

See previous note. In addition to experimenting with media, the class discussed different concepts of representation, including text-based work.

Deborah Hughes, Psyche’s Words, acrylic and transfer on wood, 24 x 18 in.

BFA Seminar
BFA Seminar

The seminar included regular studio visits and critiques, as well as readings and discussions. The class also included learning how to write an artist’s statement, how to photograph and Photoshop work, and how to create and present digital portfolios.

Lindsey Core, Girls, oil on canvas, 48 x 72 in.

BFA Seminar
BFA Seminar

See previous note.

Jeff Beck, Untitled, oil on canvas, 62 x 46 in.

MFA Seminar
MFA Seminar

The MFA seminar included a range of readings, writing, and regular critiques, as students worked independently toward their shows. This student was working on a series of paintings based on selfies taken with her family.

Laura Agrestal, Untitled, acrylic on canvas, 14 x 18 in.

MFA Seminar
MFA Seminar

See previous note. This student was working from photographs taken either by himself or relatives in his home country.

Steadman Channer, Funeral II, charcoal on oil wash on canvas, 48 x 52 in.

MFA Seminar
MFA Seminar

See previous note. This student was working in collage and taking small studies up to large scale.

Hugo Morales, Silent Scream, collage, oil, and oil stick on canvas, 42 x 28 in.

Drawing from a reproduction, qua reproduction  [Drawing II]
Drawing from a reproduction, qua reproduction [Drawing II]

Students drew from photographs, but explicitly referenced the condition of drawing from a photograph. This student’s solution was one of a number of creative approaches. She drew from an image on her monitor and included a fragment of the Apple logo, which subtly reveals the form of her source.

Gabriella Lirena, Untitled, charcoal pencil and pencil on paper, diptych, 30 x 40 in. overall

Rules-Based Drawing [Drawing II]
Rules-Based Drawing [Drawing II]

Students chose from several sets of rules. This drawing fulfills the criteria: make a drawing composed of four circles.

Ahem Ahmed, Rules-Based Drawing, charcoal and chalk on toned paper, 6 1/2 x 8 in.

Making Conceptual Art
Making Conceptual Art

After discussing Dada and its context in the beginning of the twentieth century, we created Dada poems a la Tistan Zara and read them in class. Next students composed a “non-informative flyer.”

Ryanne Mangasar, Non-Informative Flyer, collage and staining on three-hole punched paper, 11 x 8 1/2 in.

Lemons in Primary Colors [Painting I]
Vanitas [Painting I]
Olympia [Painting I]
Final project [Painting I]
Final Project [Painting II]
Expressive Figure/Painted Collage [Foundation year]
Map and Window [Foundation year]
Experimental Painting
Experimental Painting
Experimental Painting
BFA Seminar
BFA Seminar
MFA Seminar
MFA Seminar
MFA Seminar
Drawing from a reproduction, qua reproduction  [Drawing II]
Rules-Based Drawing [Drawing II]
Making Conceptual Art
Lemons in Primary Colors [Painting I]

Students painted three lemons on a single panel, in each of the three primary colors, using complementary colors to create darker values.

Sarah Thomason, oil on masonite, 8 x 24 in.

Vanitas [Painting I]

After looking at images of still lifes through art history, we discussed the tradition of the vanitas. Students then assembled objects and made and painted their own vanitas still lifes

Olympia [Painting I]

After comparing Titian’s Venus of Urbino and Manet’s Olympia in the context of the gaze, we divided a poster of Olympia into parts, which were gridded and enlarged, and painted by individual students, in oil on paper.

Final project [Painting I]

For our final project, students devised their own subjects, with the criteria that the work be composed of a sequence of images.

Jessica Wertz, What’s Left on the Plate [detail], oil on canvas, 8 x 10 in. each, a series of six

Final Project [Painting II]

For their final projects students were free to choose their subjects without restrictions. They did a series preliminary oil sketches, which were presented and discussed in class. They then completed the final painting.

Justin Grunberg, American Pastoral, oil on canvas, 40 x 30 in.

Expressive Figure/Painted Collage [Foundation year]

Students worked from reproductions of the figure from art history, history, and comics. They were dealt out like cards, to create a small group of images thrown together by chance. Students then drew from the images on a single sheet, to create a “collage.” They then added a painted element, with an eye to using subtly mixed hues.

Opal Workman, Painted Collage, pencil and acrylic on paper, 24 x 18 in.

Map and Window [Foundation year]

Students chose a character, which could be from history, literature, myth, comics, or games. They then created a digital collage that told the character’s story, combining surface-affirming “map” images and surface-denying “window” images. They printed their collages and then added a hand-painted component.

Robyn Young, Jeanne d’Arc, acrylic on digital collage printed on paper, 18 x 24 in.

Experimental Painting

At the beginning of the semester, students chose and researched a character. Over the course of the semester we worked with that character’s story and attributes to make work in diverse media.

Frank Baron, Hammer for John Henry, house paint on canvas, 23 x 42 in.

Experimental Painting

See previous note.

Loredana Gasparotto, Psyche, transfer, acrylic, iodine, and marker on wood, 24 x 24 in.

Experimental Painting

See previous note. In addition to experimenting with media, the class discussed different concepts of representation, including text-based work.

Deborah Hughes, Psyche’s Words, acrylic and transfer on wood, 24 x 18 in.

BFA Seminar

The seminar included regular studio visits and critiques, as well as readings and discussions. The class also included learning how to write an artist’s statement, how to photograph and Photoshop work, and how to create and present digital portfolios.

Lindsey Core, Girls, oil on canvas, 48 x 72 in.

BFA Seminar

See previous note.

Jeff Beck, Untitled, oil on canvas, 62 x 46 in.

MFA Seminar

The MFA seminar included a range of readings, writing, and regular critiques, as students worked independently toward their shows. This student was working on a series of paintings based on selfies taken with her family.

Laura Agrestal, Untitled, acrylic on canvas, 14 x 18 in.

MFA Seminar

See previous note. This student was working from photographs taken either by himself or relatives in his home country.

Steadman Channer, Funeral II, charcoal on oil wash on canvas, 48 x 52 in.

MFA Seminar

See previous note. This student was working in collage and taking small studies up to large scale.

Hugo Morales, Silent Scream, collage, oil, and oil stick on canvas, 42 x 28 in.

Drawing from a reproduction, qua reproduction [Drawing II]

Students drew from photographs, but explicitly referenced the condition of drawing from a photograph. This student’s solution was one of a number of creative approaches. She drew from an image on her monitor and included a fragment of the Apple logo, which subtly reveals the form of her source.

Gabriella Lirena, Untitled, charcoal pencil and pencil on paper, diptych, 30 x 40 in. overall

Rules-Based Drawing [Drawing II]

Students chose from several sets of rules. This drawing fulfills the criteria: make a drawing composed of four circles.

Ahem Ahmed, Rules-Based Drawing, charcoal and chalk on toned paper, 6 1/2 x 8 in.

Making Conceptual Art

After discussing Dada and its context in the beginning of the twentieth century, we created Dada poems a la Tistan Zara and read them in class. Next students composed a “non-informative flyer.”

Ryanne Mangasar, Non-Informative Flyer, collage and staining on three-hole punched paper, 11 x 8 1/2 in.

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