Descripción y contextualización de la asignatura

Course Description:

This course offers a comprehensive exploration of contemporary painting practices, focusing on three main objectives: understanding creativity in the context of painting today, recognizing the significance of group critiques and constructive criticism, and utilizing current technology to better understand abstract concepts of composition, emphasizing visual learning over verbal. By combining theoretical discussions, practical exercises, and hands-on digital experimentation, students will develop their artistic abilities and expand their understanding of the dynamic world of contemporary painting.



Course Context:

This course is designed to equip painters with varying perspectives, knowledge, and mindset required to navigate the forever evolving landscape of 21st century art. Through a combination of group efforts, critical thinking exercises, and digital tools, students will gain a holistic understanding of the creative process in contemporary painting.



Objective 1: Explore what it means to be creative as a contemporary painter



In this course, students will delve into the multifaceted nature of creativity within the realm of contemporary painting. Through engaging discussions, hands-on projects, and exposure to the works of renowned contemporary painters, students will explore various artistic approaches, styles, and philosophies. They will examine the factors that influence creativity, such as cultural contexts, personal experiences, and historical references, ultimately fostering a deeper understanding of their own creative potential.



Objective 2: Understand the value of group critiques and techniques in giving and receiving meaningful and constructive criticism.



Critique and feedback are vital components of artistic growth. This course emphasizes the significance of group critiques as a means of refining one's artistic practice. Students will participate in regular critique sessions, where they will learn to articulate their artistic intentions and receive constructive feedback from both their peers and the instructor. Through these critiques, students will develop their ability to analyze and evaluate artwork objectively, while also honing their skills in providing insightful and supportive feedback to others.



Objective 3: Use computer programs and applications to find a deeper, more visual understanding of abstract concepts of composition. Advancements in digital painting tools, photographic editing software, and open source image libraries have opened up new avenues for artistic exploration. In this course, students will integrate digital tools and applications into their painting practice to enhance their understanding of abstract concepts of composition. Through hands-on workshops and projects, students will learn how to leverage computer programs to experiment with color, form, texture, and spatial relationships. They will develop a deeper visual comprehension of composition and explore the

ways in which digital tools can expand their creative possibilities.

Resultados del aprendizaje de la asignatura

By the end of this course, students will not only have gained a solid foundation in contemporary painting and concepts but also a broader perspective on the creative process as a whole. They will be equipped with the skills to engage in meaningful group critiques, offer constructive criticism, and employ digital tools to enhance their artistic practice. Through these three main objectives, students will develop into well-rounded contemporary painters, ready to navigate the complex and the ever-evolving art world.

Convocatoria ordinaria: orientaciones y renuncia

The evaluation of the subject will be continuous. In order to pass the course, it is essential to complete and hand in all the proposed periodic exercises within the established deadlines and, as far as personal painting practice is concerned, to carry out continuous and constant work throughout the course, which will have to be seen weekly by the teacher using the means agreed upon for this purpose.

Reflective processes and self-assessment will be encouraged. The personal evolution of each student will be taken into account, in the sense of maturing in the adaptation of means to ends.



Regardless of whether or not students have participated in the continuous assessment system, they will have the right to be assessed by means of the final assessment system. This final exam will consist of the delivery of all the work carried out throughout the course and its oral presentation and defence, on the date and in the manner established at the appropriate time. Likewise, students will have to respond, through the production of one or several pictorial works, to the thematic proposal that will be proposed to be sketched and carried out, at least in its first stain, in a 5-hour session. In any case, prior to this final test, continuous contact between the student and the teacher by telematic means or any other means agreed upon by both parties will be an essential requirement.



Waiver of the exam session



Students will have the right to waive the ordinary exam by writing to the teacher of the subject before the end of it.

Convocatoria extraordinaria: orientaciones y renuncia

The exams of the extraordinary call will always be held in front of a board constituted by the Master's Academic Committee or those delegated by it.

All the work carried out during the course must be presented and an oral defence of the same must be made.

Temario

Media work and painting. Medios audiovisuales y pintura.

Pictorial and threedimensional (2D/3D). Pictórico y tridimensional.

Time as a dimension. El tiempo como dimensión.

Bibliografía

Materiales de uso obligatorio

Photoshop or GIMP(free and open source)



Laptop or Tablet

Bibliografía básica

APPIGNANESI, R; GARRATT Ch. Posmodernism for Beginners. Cambridge: Icon Books, 1995.

BERGER Arthur Asa. Media Analysis Techniques. London: Sage Publications, 1998.

BERGER, John. Ways of seeing. London: BBC and Penguin Books, 1972.

HARRIS, David. A society or Signs? London: Routledge, 1996.

MONACO, James. How to read a film. Oxford: Oxford University Press, 1981.

Bibliografía de profundización

Benjamin, Walter. The Work of Art in the Age of Mechanical Reproduction. Penguin UK, 2008.



Bourriaud, Nicolas. Postproduction. Sternberg Press / Lukas & Sternberg Series. Sternberg Press, 2006. https://mitpress.mit.edu/9780974568898/postproduction/.



“Creativity: Flow and the Psychology of Discovery and Invention - Mihaly Csikszentmihalyi - Google Books.” Accessed June 22, 2023. https://books.google.es/books/about/Creativity.html?id=K0buAAAAMAAJ&redir_esc=y.



Gardner, Howard E. Frames of Mind: The Theory of Multiple Intelligences. Hachette UK, 2011.



Gardner, Howard E., Mihaly Csikszentmihalhi, and William Damon. Good Work: When Excellence and Ethics Meet. Basic Books, 2008.



Hamivand, Leila. “A Comparative Study of Creativity and Intelligence of Students in Wechsler Intelligence Scale and Children’s Apperception Test.” Journal of American Science, August 8, 2012.



IRUJO, JULIAN. SABER SENTIR LA PINTURA. 1a ed. Servicio Editorial=Euskal Herriko Unibertsitatea. Argitarapen Zerbitzua, 2015. https://www.agapea.com/Julian-Irujo-Andueza/Saber-sentir-la-pintura-9788490821251-i.htm.



Lessig, Lawrence. “Free Culture,” January 1, 2002. The Future of Ideas: The Fate of the Commons in a Connected World. Random House, 2001. https://www.researchgate.net/publication/28802969_Free_Culture

Enlaces

“Everything Is a Remix - Google Search.” Accessed June 24, 2023. https://www.google.com/search?client=firefox-b-d&q=everything+is+a+remix#fpstate=ive&vld=cid:3a007a2f,vid:nJPERZDfyWc.



Garnett, Joy. The Case for Appropriation (Excerpt: Rob Storr), 2013. https://vimeo.com/61349548.