|
Teaching goals (program content, subject description)
|
The subject MODELS OF CONTEMPORARY FIGURE (realized in the 4th Drawing Studio 55) is dedicated to fourth and fifth year students who, based on their own reflections and experiences gained during their studies, wish to realize an independent, individual project connected with the obligatory appendix.
The student is expected to independently prepare a diploma as well as its public presentation in accordance with an individual exhibition concept. Moreover, the student is obliged to make a verbal presentation of the diploma project and to defend it.
The primary task of program teaching is to help students develop their creative individualities while respecting different artistic attitudes, often different from those of the instructor. In an effort to see and respect the individualities 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. Apart from discussing such basic issues as form, color, light, shape, expression, 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. Work with students 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 who create, it 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_
|
|
Compulsory literature used during classes
|
Kobiety, sztuka i społeczeństwo, Whitney Chadwick, Rebis, 2017
Słowa i rzeczy. Archeologia nauk humanistycznych, Michel Foucault, 2007
Teoria widzenia, Władysław Strzemiński, Wydawnictwo Literackie, 1969
Oryginalność awangardy, Rosalind E. Krauss, słowo/obraz terytoria, 2012
Yve Alain Bois. Painting as Model, MIT Press, 1990
Art in Theory 1900-2000: An Anthology of Changing Ideas by, Charles Harrison&Paul Wood, 2014
|
|
Additional literature recommended for the student's self learning
|
Powrót realnego: awangarda u schyłku XX wieku, Hal Foster, Universitas, 2012
Dzielenie postrzegalnego. Estetyka i polityka, Jacques Ranciere, Korporacja Ha!art, 2009
Historia szaleństwa w dobie klasycyzmu, Michel Foucault, PIW, 1987
|
| Learning outcomes
|
| Knowledge | Skills | Social competences |
|---|
- knowledge of key issues connected with drawing (techniques, tools and materials);
- knowledge of concepts connected with the subject of drawing - subject, concept, light, space, composition, value, point, line, spot, form, sign, matter, optical illusion;
- knowledge and understanding of the historical, cultural and social context of the visual arts, which enables them to express a critical attitude towards the phenomena of both ancient and contemporary drawing and towards their own work;
- knowledge of phenomena occurring in contemporary art;
- knowledge of the relationship between fine arts and other areas of life and the awareness of the fundamental dilemmas of modern civilization reflected in them;
- knowledge of issues related to the workshop and the history of drawing, which enables the student to analyze and compare different attitudes, works and trends, and to draw conclusions in order to use them in his/her own creative work;
- knowledge of issues helping to define theories, programs and artistic goals;
- formulate, based on personal experience, a critical analysis of one's own artistic assumptions and creative work;
- knowledge of the availability and cost of art materials on the market at home and abroad
- knowledge of the principles of discipline and hygiene at work;
- familiarity with methods of realizing one's ideas in a cultural and social context, with attention to the highest quality of one's work and with reference to such values as beauty, truth and goodness;
- knowledge of the relationship between fine arts and other areas of contemporary life and awareness of the fundamental dilemmas of modern civilization reflected in them;
- basic knowledge of the construction of an image on a plane (composition, contrast, light, space, rhythm, etc.) resulting from work on one's own technique - knowledge of reading: books, specialist magazines and internet portals devoted to contemporary art
- knowledge of filmography concerning contemporary art, orientation to current exhibitions and the offer of prestigious Polish and foreign galleries;
- ability to formulate independent judgements concerning art and its contemporary phenomena;
- knowledge of the historical context, development and evolution and the place of contemporary drawing as an autonomous form of artistic expression;
- knowledge of at least one of the readings given in the course bibliography and the ability to analyze it and draw conclusions that contribute to the progress of drawing works;
- knowledge of issues concerning contemporary cultural and artistic life to the extent necessary to analyze and interpret works of art, describe own work, verbalize own artistic assumptions;
- knowledge of the specific principles of independence and freedom in creating artistic expression to the extent necessary for further independent artistic work;
- recognizing the most interesting trends and current creative challenges and drawing conclusions from the ongoing changes in the language and the problems of contemporary art;
- knowledge of the principles of ethics or copyright law necessary for the work,
- knowledge of the principles of ethics or copyright law necessary in the course of work, in order to create a statement in which he/she will be ready to defend his/her own views, opinions and artistic attitudes;
- knowledge of basic reading concerning painting, drawing and art history, cultural theory, philosophy, aesthetics, media theory and other humanities and sciences related to art;
- knowledge of the relationship between theoretical and practical aspects of study;
- knowledge and understanding of the importance of originality of artistic attitude and the importance of the creative process leading to the achievement of an authentic drawing expression of one's own;
|
- make conscious use of drawing tools, techniques and their appropriate use in order to achieve the best final drawing effect
- creative use of light and space on a plane in drawing based on observations from nature;
- model solids with the use of chiaroscuro, create depth of space with the use of tone and line drawing, optical effects and perspective;
- properly choose the format of the work, determine the proportions of forms and shapes and use different types of compositions;
- use the artistic technique correctly in the realization of their own creative intentions;
- use contemporary drawing techniques freely, e.g. collage, decollage; creatively combine drawing with photography, performance and installation;
- use their knowledge and talent to express and realize original artistic concepts (analytical and thorough work with a model, spatial composition, problem tasks);
- make independent artistic decisions and implement their own drawing intentions;
- take creative risks and rationally analyze problems occurring during the realization of natural and problem tasks
- recognize and analyze phenomena occurring in contemporary art;
- verify their own views based on their own creative experience as well as the experience of previous generations;
- communicate their ideas in a verbal argumentation while talking about their works;
- use their own experiences and knowledge in formulating critical judgments about reality;
- making conscious and independent decisions related to drawing creation (during classes in the studio as well as independent activities outside the university);
- take up contemporary social, political and philosophical issues in their works;
- publicly present their works and present their own artistic concept in a communicative way;
- take independent decisions connected with their projects from artistic, aesthetic, ethical, social and legal aspects
- take a responsible approach to the public presentation of their own works, artistic views, as well as the works of other artists
- communicate with the audience about their own work and about art issues;
- participate in collective problem exhibitions, present individual exhibitions in the corridors of the academy and outside its walls;
- use the newly acquired knowledge for continuous artistic development;
- set new goals and to realize them systematically;
- improve their skills throughout their lives;
|
in terms of:
- consciously taking care of the technical side of their workbench and the quality of the materials used;
- taking responsibility for the technological quality of his/her artistic works;
- preparing an appropriate place for creative work
- realizing their projects in the context of current artistic and social phenomena;
- take responsibility for the content of their works;
- self-assess their own achievements;
- communicate with the audience;
- public speaking while maintaining the ethical attitude of an artist towards the recipient of art and society;
- justify one's own creative choices and defend them in public;
- work in a group of people with different world-views and character attitudes
- public presentation of works at collective and individual exhibitions;
- respect copyright and take care of the intellectual property of other authors;
- self-evaluation of their own achievements;
- setting new goals for themselves and realizing them in the form of artistic exhibitions;
- realize exhibitions and to constantly confront one's own creative development with public opinion, based on one's own experience, knowledge and artistic skills as well as on new challenges, solutions and technologies.
|
|
