Yevgeniya Baras

In this two credit class, we will explore the process of collage as a method of creating dynamic compositions. Collage is a way to communicate complex emotions, layered ideas, and nonlinear stories. We will be learning different techniques of collage, using found materials, photographs, and craft supplies. Collage in this class will be utilized as a preparation toward making a series of paintings but will also become part of paintings. At the core of this class is openness to material experimentation, interest in learning how to communicate through paint as well as nontraditional painting materials, and learning about other artists who have used collage and assemblage in their work. The class follows a series of prompts or visual problems that are posed by the instructor. By the end of class, a series of works will be produced. Each student will investigate topics of interest to them through methods of collage and painting. Some of the visual materials that we will reference are stained-glass windows, quilts, tiles, mail art, and book art, as well as artists who have used/use collage in their paintings/drawings/sculpture today.

This is a project-based painting intensive. Students will be given specific prompts, which will lead to investigations and experimentations in abstraction. The prompts will result in students generating work that is theirs. Each assignment encourages visual and personal research in preparation for making. Technical exploration, perception, development of ideas, intuition, invention, representation, and communication are at the core of this class. We will have a chance to explore different ways of working with acrylic paint and expand on the idea of what painting is by integrating alternative painting materials. The paintings made in this class will consider the meaning of materials; transformation of materials through touch; and working with found, as well as repurposed, materials. Paintings may be three-dimensional and may not stay within a rectangle. Curiosity and giving yourself permission to travel to unexpected places, rather than merely relying on skills and experiences which are part of you already, is an important part of this class. This class is for people who are interested in surprising themselves! Participants will engage in critical group dialogues and individual critiques to hone the fundamental aspects of their work and deepen their understanding of contemporary art practice. This class is for people who are interested in learning to work abstractly. In the context of this class, abstraction is grounded in specificity, research, and in looking for personal, particular ways to communicate through a chosen language of abstraction. Classwork is accompanied by the creation of a separate group of conference work. This intermediate painting class is a rigorous painting environment, where you will be producing a lot of work: sketches, collages, and variations on paintings. You will also be considering how to best install work in order for the work to communicate most clearly.

This is a project-based painting intensive that builds on introductory painting skills. Students will be given 10 specific prompts, which will lead them to generate work that is theirs. Prompts encourage visual and personal research in preparation for making. Technical exploration, perception, development of ideas, intuition, invention, representation, and communication are at the core of this class. We will have a chance to explore different ways of working with acrylic paint and expand upon the idea of what painting can be. We will view slide lectures and have discussions about historical and contemporary painting. We will engage in explorations and techniques for gathering imagery, with ample studio time and one-on-one and group critiques. As a result of this class, students will produce a group of 10 personal paintings (and sketches, preparatory works, collages, photographs) and gain insight into numerous methods of making paintings. Drawings in this class will often be produced in tandem with paintings in order to solve painting problems and illuminate visual ideas. Revisions are a natural and mandatory part of this class. The majority of our time will be spent in a studio/work mode. The studio is a lab where ideas are worked out and meaning is made. It is important that you are curious, that you allow yourself to travel to unexpected places, and that you do not merely rely on skills and experiences that are already part of you but, rather, challenge yourself to openness and progress. The process will be part critical thinking, part intuition, and in large part physical labor. Working rigorously during class and on homework assignments is required. The goal of this class is to establish the roots of a healthy and generative personal studio practice. You will also strengthen your knowledge of art history and take into consideration the wider cultural, historical, and social contexts within which art is being made today.

Technical exploration, perception, development of ideas, intuition, invention, representation, and communication are at the core of this class. We will begin the course in an observational mode, introducing practical information about the fundamentals of painting: color, shape, tone, edge, composition, perspective, and surface. We will paint still lifes and transcribe a masterwork. We will look at the work of both old masters and contemporary painters. We will also take a trip to a museum to look at paintings “in the flesh.” The course will include demonstrations of materials and techniques, slide presentations, films and videos, reading materials, homework assignments, and group and individual critiques. In the second half of the course, we will complete a series of projects exploring design principles as applied to nonobjective (abstract) artworks. Using paint, with preparatory collages and drawings, we will engage with strategies for utilizing nonobjective imagery toward self-directed content. Each week will bring a new problem, with lessons culminating in independent paintings. Projects will emphasize brainstorming multiple answers to visual problems over selecting the first solution that comes to mind. The last part of the class will be devoted to a personal project. Students will establish their theme of interest, which they will present during our conference meetings. Then, they will carry out research and preparatory work and develop either a large-scale painting or a series of paintings. Drawings in this class will often be produced in tandem with paintings in order to solve painting problems and illuminate visual ideas. Revisions are a natural and mandatory part of the class. The majority of our time will be spent in a studio/work mode. The studio is a lab where ideas are worked out and meaning is made. It is important that you are curious, that you allow yourself to travel to unexpected places, and that you do not merely rely on skills and experiences that are already part of you but, rather, challenge yourself to openness and progress. The process will be part critical thinking, part intuition, and in large part physical labor. Working rigorously during class and on homework assignments is required. The goal of this class is to establish the roots of a healthy and generative personal studio practice. You will also strengthen your knowledge of art history and take into consideration the wider cultural, historical, and social contexts within which art is being made today.

Technical exploration, perception, development of ideas, intuition, invention, representation, and communication are the core of this class. We will begin the course in an observational mode, introducing practical information about the fundamentals of painting: color, shape, tone, edge, composition, perspective, and surface. We will paint still lifes and transcribe a masterwork. We will look at the work of both old masters as well as contemporary painters. We will also take a trip to a museum to look at paintings in the flesh. The course will include demonstrations of materials and techniques, art historical presentations, films and videos, reading materials, homework assignments, group and individual critiques. In the second half of the course, we will complete a series of projects exploring design principles as applied to nonobjective (abstract) artworks. Using paint, with preparatory collages and drawings, we will engage with strategies for utilizing nonobjective imagery toward self-directed content. Each week will bring a new problem, with lessons culminating in independent paintings. Projects will emphasize brainstorming multiple answers to visual problems over selecting the first solution that comes to mind. The last part of the class will be devoted to a personal project. The students will establish their theme of interest, which they will present during our conference meetings. Then, students will carry out research and preparatory work and develop a series of paintings. Drawings in this class will often be produced in tandem with paintings in order to solve painting problems and illuminate visual ideas. Revisions are a natural and mandatory part of this class. The majority of our time will be spent in a studio/work mode. The studio is a lab where ideas are worked out and meaning is made. It is important that you are curious, that you allow yourself to travel to unexpected places, and that you do not merely rely on skills and experiences that are part of you already but, rather, challenge you to openness and progress. The process will be part critical thinking, part intuition, and, in large part, physical labor. Working rigorously during class and on homework assignments is required. The goal of this class is to establish the roots of a healthy and generative personal studio practice. You will also strengthen your knowledge of art history and take into consideration the wider cultural, historical, and social contexts within which art is being made today.