Class #1: 18 July, Wednesday, 2-4pm

Course review, introductions - see resume 

This course looks at devices and materials used to make art such as: lenses and overhead projectors, pigment and oils, perspective grids and 3-D modelling programs.. David Hockney's recent book, 'Secrets Knowledge - rediscovering the lost techniques of the old masters' (on reserve in the library) proposes that a camera-like device was invented much earlier, and was used more regularly, than has been previously thought. This type of investigation will be a model for the course. There will be some hands-on exercises in the class including building a camera obscura, grinding pigment, life-drawing and the production of charcoal as well as reading from primary sources. Each student will be responsible, in conjunction with the instructor, for preparing a demonstration of a particular technique or methodology.

Reading: James Elkins, What Painting is? - A Short Course in forgetting Chemistry, 1999, pages 9-39

left to right:

contemporary reference: Juan Ford, oil on aluminium, oil on canvas, 2004

historical reference: Johannes Vermeer, Girl with a Pearl Earing, c.1665, oil on canvas, 46.5 x 40cm

Class #2: 25 July, Wednesday, 2-4pm

Lost in space.

When the figure is thrown into an exaggerated position, and radical foreshortening occurs, artists often have difficulty in capturing a pose. This week a student will research, and demonstrate a device which will alleviate some of these problems.

contemporary artist: John Currin, Nude on a Table, oil on linen, 2001

historical reference: Hans Baldung Grien, Stupified Groom, woodcut, 33.8 x 19.8cm, 1544

Reading: A History of the World in 10 1/2 Chapters, Shipwork, pages 115-139

historical reference: Albrecht Dürer, Demonstration of Perspective, woodcut, 1525

Class #3: Wednesday, 2-4pm

Re-interpretations and fragmentation of the body have been a long-standing themes with artists. This week we will look at the body as a transformative

Student Presentation:

Reading: Cennino Cennini, The Craftsmen's Handbook, pages 1-42

left to right:

contemporary artist: Joel-Peter Witkin, Harvest, photograph, 1984

historical reference: Archimboldo Giuseppe, Winter, oil on canvas, 1573

Class #4: Wednesday, 2-4pm

Encaustic paint is a medium which has recently received much attention. Demonstration to include the use of beeswax, paraffin, oil and varnishes in various combinations

Student Presentation:

Reading: Wassily Kandinsky, Spirituality in Art, pages

left to right:

Contemporary example: Jasper Johns, Three Flags, encaustic on canvas, 30 7/8" x 45 1/2" x 5", 1958

Historical reference: Fayum Portrait, Roman Period, Egyptian, 39 x 19cm, 2nd C.

Class #5: Perspectival issues, reading assignment: 'Changing Images of Pictorial Space', bring a ruler, an HB & 4B graphite pencil, a 20" x 30" piece of paper.

Student Presentation:

contemporary example: Peter Daverington, oil on canvas, 2004

historical artist: Giovanni Piranesi, The Arch with the Shell Ornament, plate XI, from the Carceri series, etching and engraving, 40.9 x 54.9 cm, 1749

Reading: Mark Rothko, The Artist's Reality - Philosophies of Art

Class #6:

Student Presentation:

contemporary artist: Kara Walker, Untitled, 1998, cut paper & adhesive on wall

contemporary artist: Joel Peter Witkin,

Reading: Art School, H. Saxton

Class #7:

Student Presentation:

contemporary artist: contemporary artist: Ricky Swallow, iMan Prototypes, cast resin

right: Artemisia Gentileschi, Judith Slaying Holofernes (Uffizi version), oil on canvas, 1.99m x 1.625m, c. 1620

Assignment #8:

Student Presentation:

contemporary artist: David Reed, #337, 30" x 130" oil and alkyd on linen, 1994

 historical reference: Otto Dix, Illusion act, 1922, etching with drypoint, 29 x 25cm

Class #9:

Student Presentation:

contemporary artist: John Currin, The Hobo, oil on canvas, 40" x 32", 1999

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historical reference: Lucas Cranach the Elder, Venus Standing in a Landscape, oil on wood, 1529

Class #10:

Student Presentation:

contemporary example: Patricia Piccinini, The Young Family 2002-3, silicone, acrylic, human hair, leather, timber, 80 x 150 x 110cm (irreg.)

left: contemporary artist: Jenny Saville, Plan, oil on canvas, 108' x 84', 1993

Class #11:

Student Presentation:

Class #12:

Student Presentation:

contemporary artist: Tony Oursler, Eye in the Sky, projector on fiberglass sphere, 18 inches in diameter, 1997