Harcourt House, Edmonton presents CONCEPTS IN CONTEMPORARY PAINTING I, II, II
Harcourt House Artist Run Centre is pleased to offer a new course delving into formal and conceptual issues in contemporary painting. Participants are encouraged to develop a personal dialogue with current concepts of painting, how they relate to pivotal movements in art history, and to recent happenings in the art world. It is recommended, but not mandatory, to take all three sections in succession. All media and materials are welcome as well as alternatives such as found object or performance based work.
Micheal Cor holds an MFA from the Hoffberger School of Painting at the Maryland Institute College of Art (MICA), has completed MICA’s College Teaching of Art program and brings unique perspective to this more than traditional painting course.
Instructor: Micheal Cor
• May 16 – June 1, July 11 – 27,
• Sept 12 – 28 Tuesday and Thursday 7 – 10pm
Members: $135/Non Members: $155 per section
Today painting has a long history to contend with. That history has blurred the boundaries of what painting can be and how painters paint today. From the historical lens of painting we will take the leap with Yves Klein and explore works like Allan Kaprow’s happenings and Bruce Nauman’s performance as a means for painting to develop in a postmodern context. The course will help participants develop a personal dialogue with contemporary concepts of painting and how they relate to pivotal historic movements in the history of painting and recent art history as well as the ongoing dialogue of the contemporary art world. How these three elements inform our current perspective will develop throughout the three sections of the course. Each section will be offered independently. It is recommended, but not mandatory, to take the sections in succession.
Part I Concepts Inside and Outside Modernism
Part II The Death of Painting and the Immaterial
Part III Painting Today
Each section will be made up of 6 classes, which will include both a one-hour seminar and a two-hour studio session with a 4 hour critique on the final day of each section. Participants are not required to be painters; all media are welcome. In addition to readings and critiques, the course concerns itself with both formal and conceptual issues and emphasizes verbal skills during critique sessions. Students will be asked to supply one article, recently printed, for the class to read and discuss. The articles can range from philosophical essays, art critical reviews, or any topic relevant to today’s point of view on culture and society. These topics are not limited to art but should be presented with an emphasis on contemporary concepts in painting.
In the first section of this course student will gain a broad understanding of modern concepts in painting and how the history of those concepts led to the death of painting as the modernists envisioned it. In the second section examples of historic and contemporary artists work will be used to form an understanding how painting has been brought back to life through contemporary practices and immaterial concepts. And finally, in the third section, participants will further investigate contemporary practices today and how they can develop as a studio artist and understand painting today. Students will become confident in their abilities to critique a range of studio work that is outside of their own studio practice or comfort zones. This will enable the students to engage art and life from a much broader vantage point. Ultimately this class will aid in developing a competent and genuine voice in the lives of the students and in their dialogue with contemporary art. By the end of the course the student should understand studio practices and the studio critique as subjective processes that provoke and nurture creativity. The student will develop a critical voice that is their own and that represent their experiences, knowledge, and beliefs as specific from what has come before or what is developing today.
Students are recommended to review or subscribe to at least one of the following art magazines as source material for discussion. These art magazines are a starting point and are not meant to be all encompassing as source material for the participant led discussions. Other digital or printed media (art or journalistic) can be used as long as they represent a contemporary perspective; contemporary meaning to belong to or occur in the present.