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Teaching goals (program content, subject description)
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Drawing Studio IV "Studio 55" is dedicated to students from the second to the fifth year. It provides the possibility of an obligatory annex to a diploma in painting within the subject: Forms of Contemporary Drawing and the Diploma in Painting.
The main task of the programme teaching is to help students shape their creative individuality while respecting different, often different from the tutors, artistic attitudes. In an effort to see and respect the individuality of students with a variety of temperaments, sensibilities, talents and intellectual interests, the studio program is designed to further their development. This program is based primarily on the completion of a problem-based annual assignment common to all years. In addition, for second-year students, there is a study of the figure from nature and its interpretation while respecting the values of composition and workshop. In addition to addressing such basic issues as form, color, light, shape, and expression in discussions with students, it is very important to raise in more or less casual conversations intellectual and philosophical problems, various concepts raised by artists and theoreticians such as interdisciplinary arts. The work with the student also includes individual projects and concepts proposed by the lecturer or students. To meet the important needs related to the development of creative individuality, the program also includes the organization of film presentations, lectures, joint meetings with experienced theoreticians and art critics. During the meetings, important international exhibitions, such as the Venice Biennale or the Documenta in Kassel, are also discussed. We have all experienced how important it is for a young artist to go beyond the walls of the studio with his or her work. That is why in the didactic programme special attention is paid to facilitating and emboldening the often daunted student to cross the Rubicon. This path, usually starts with shows in the university corridor, but should lead as soon as possible to various galleries and places of art presentation in the city.
Last academic year, in a text about an exhibition of works by students of the "Studio 55" drawing studio, connected with the "Parallels" subject (which, for some reason, was not realized), I wrote down, as it turned out, a prophetic sentence: "We are on the eve of new thinking - never seen before. A new paradigm is emerging in an instant, difficult to perceive. Are we able to notice it?" This "new paradigm" describing reality has appeared suddenly, embedding reality in the disturbing context of a pandemic. It somehow forces changes in the organization of our functioning in many areas of life. Obviously, these changes also include the organization of work of all higher education institutions. In the present conditions, in the current academic year, there is a need to construct a new order of didactic and artistic activities, also in my drawing studio "Studio 55". Classes and lectures will now take on a hybrid form - a mix of stationary and remote classes. I would like to emphasize with all my conviction that I perceive the current situation, forcing organizational changes, not as a regression, a retreat in development - but as a new opportunity and challenge. I recognize these difficult conditions as circumstances that are a transitional phase for the emergence of not so much a new, but a specific form of education. Let me take this opportunity to present some of my thoughts and observations concerning the spiritual condition of young art students. Solitude plays an important role in practising the profession of an artist. One might even say that preparation for this profession requires particular determination and patience. We know that the creative work of artists involves concentration and creating in a certain isolation. Of course, often artistic ideas are an opportunity for collective action. However, we usually depend on individual work. It should be clearly emphasized here that the development of the workshop of the artist-painter and his spirituality, intellect are an integral whole. It is a resultant of creative attitude to life and creativity. Creativity resulting from synchronization of individual and collective feeling of the spirit of the times in which we and the artist function. The price of this choice, this priceless freedom may sometimes be perceived by other people as too high. As too great a sacrifice. In fact it is quite the opposite. For many people creating - this is the only possible choice to be fulfilled in life.
I believe that the current difficulties and organizational changes in the functioning of our university may paradoxically become a catalyst for a breakthrough change in thinking about one's own work and artistic didactics. Without undue exaggeration, I can say that the stationary consultations and remote forms of online communication planned for the current academic year are one of the best opportunities that a young art student can have experimentally. The studios at the Academy of Fine Arts in the form they have had so far have been a disturbing phenomenon. Not only recently - during the ongoing pandemic, but for about ten years now I have noticed a clear decrease in the number of students attending classes with a model. The current reduction in this form of work, and the reduction in face-to-face interpersonal contact, does not equate to a reduction in imagination. The multitude of electronic means of communication and platforms for virtual social contact available to us is an excellent tool for communication during programs and projects in studios at universities. Art is rich and fresh when it confronts and uses the potential of new possibilities, phenomena and realities. So we can see that now, in these unprecedented conditions, new horizons are opening for us.
On the basis of many years of observation and experience I state that the best effects and the greatest artistic achievements are achieved by those young adepts of art who do not limit their development to working from nature. As I mentioned at the beginning - studies from nature are not a priority for us. Students of our academy have already had many opportunities to work with a model at the high school stage, during entrance exams or obligatorily during the first year. Now they can face more difficult, more challenging passwords and problems. I suggest, therefore, going out into the wide waters of art and making attempts at artistic self-definition. Here the number of ways is probably unlimited. It seems that the contemporary art world is integrated with new technologies and media. For a long time now, creatively inspired by photography, press, film and the Internet, it has been tackling contemporary social, political and philosophical issues. Due to the fact that the painting image - as opposed to film, happening, performance or theater art - is in a way a frozen phase of movement, in our studio we try to creatively use this property - in the context of the most important problems of contemporary civilization.
https://www.instagram.com/studio.55_
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Compulsory literature used during classes
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Teoria widzenia, Władysław Strzemiński, Wydawnictwo Literackie, 1969
W. Kandyński, O duchowości w sztuce, Państwowa Galeria Sztuki, Łódź 1996
E.H.Gombrich, O Sztuce, Wydawnictwo Arkady 1997
Kobiety, sztuka i społeczeństwo, Whitney Chadwick, Rebis, 2017
Hubert Damisch, Okno w zółci kadmowej albo o tym, co kryje się pod spodem malarstwa, słowo/obraz/terytoria, Gdańsk 2006
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Additional literature recommended for the student's self learning
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Jan Cybis, Notatki malarskie, Dzienniki, PIW, Warszawa, 1980
Ernst Gombrich, Sztuka i złudzenie: o psychologii przedstawienia obrazowego, PIW, Warszawa, 1981
Maurice Merleau-Ponty, Fenomenologia percepcji
Art in Theory 1900-2000, Art Now, Tashen
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| Learning outcomes
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| Skills | Knowledge | Social competences |
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- correct application of the tools and elements of drawing technique in order to achieve the intended artistic effect;
- proficient use of drawing based on careful observation of nature (anatomical study of a figure, head study, figure in motion, anatomical detail, still life study);
- accurate interpretation of the artistic works of colleagues and well-known artists at home and abroad;
- creative drawing of inspiration from the tradition of fine arts and the ability to implement their own artistic explorations, projects, programs and assumptions;
- self-presentation and selection of own works for collective and individual exhibitions;
- the ability to draw conclusions from personal achievements in creative work and verification of own views;
- proper estimation of expenses necessary for realization of artistic work and costs of its presentation;
- appropriate analysis of specific problems in drawing and other fine arts.
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- knowledge of theory, tools and techniques of drawing and manual skills;
- knowledge of the theory of drawing and the history of drawing which enables them to analyse and compare different attitudes, works of art and currents;
- draw conclusions for their own work;
- use defined means of artistic expression in drawing (composition, light, contrast, static, dynamic, etc.);
- understanding of the latest developments in the field of drawing and relating them to their own artistic activity in this field;
- information about the possibilities of using different means of expression to recognize and use the appropriate drawing techniques to achieve the intended artistic effect (recognizing and comparing styles and modes of expression used by artists in different periods of art history and today);
- ability to make independent judgments about art and its contemporary phenomena;
- knowledge of issues helping to define theories, programs and artistic goals;
- formulating, based on personal experience, a critical analysis of one's own artistic assumptions and creative work, based on personal experience;
- knowledge of the availability and cost of art materials on the market at home and abroad;
- knowledge of the principles of professional formulation of one's own artistic assumptions in order to convince sponsors and obtain funds for their realization;
- knowledge of the principles of work discipline;
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in terms of:
- taking care of the workshop and of the artistic and technological quality of one's own work as the most important ethical foundation of an art student;
- representing an attitude worthy of a conscious creator, responsibility for the communicated contents and giving his/her works individual features
- self-discipline and self-assessment of their own achievements;
- use their creative passion in the time devoted to their work;
- uncompromisingly defend their creative intentions, to communicate the development of the artistic process and the development of the art;
- the ability to communicate and engage in artistic discussion, to express one's own reasons and judgments;
- sensitivity to the surrounding reality and its phenomena, particular sensitivity to humanistic values and an appropriate attitude in their everyday realization;
- tolerance towards a different artistic message (for which it is necessary to be aware of the value of their own work);
- taking part in a problem-based final year exhibition;
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