Class Artistic Project II

In this CU, the artistic project initiated in the UC Artistic Project I will be continued in this way: following the processes, strategies and research methodologies inherent to the arts; reinforcing the understanding of the freedom inherent in creative processes; applying the artistic and plastic, theoretical and conceptual skills appropriate and intrinsic to the artistic project under development; participating in a (self-)reflexive way in collective critical dialogues; learning to exhibit/install the body of work and document it (promotional materials: portfolio, press release, invitation, short bio, etc.).  

Not applicable

Theoretical classes: based on examples that support the definition, presentation and rationale of the artistic project, with emphasis on: 1) how to proceed with the visual and plastic development of the theme and the formulation of a central question in a project in the area of Painting, and 2) apply the theoretical and practical approaches chosen for their suitability to the development of a project, taking into account the specificity of the individual artistic process and the different media in which it can be configured considering Painting in the expanded field. Practical classes: carried out in a studio and tutoring format, they are dedicated to the development and implementation of the project, under the supervision of teachers and in dialogue/debate with colleagues. At the end of the semester, students present their artistic project with exhibition criteria, a portfolio and other communication materials (press release, invitation, biography, etc.).

Teaching methodologies are based on two models: idea and portfolio presentation classes, led by students, concluded with collective critical discussions. Presentation classes are held at the beginning of the semester. Students share their portfolios and intentions for developing their artistic projects. The collective critical discussions at the end of these presentations develop discursive skills and curiosity about their peers' work in a spirit of reflection and dialogue, guided by respect. The SWAT analysis model should structure the discussion, allowing students to develop the ability to receive and provide feedback openly, opening up to cooperative learning and establishing the class as a learning community. These actions reinforce expected learning outcomes and pave the way for student autonomy. ( See more detailed information in: Funcionamento da unidade curricular )

BOURGEOIS, L. (2015). Louise Bourgeois: The Spiders and the Tapestries. Ostfildern-Ruit: Hatje Cantz. DUNINGAM, E. C. (2013). A Celebration Of Light: The Art Of James Turrel. Ostfildern-Ruit: Hatje Cantz. ELGER, D. (2000). Donald Judd Colorist. Ostfildern-Ruit: Hatje Cantz. ELGER, D. (2000). Gerhard Richter: Catalogue Raisonné. Ostfildern-Ruit: Hatje Cantz. FICACCI, L. (2003). PIRANESI: Acqueforti/ Grabados/Águas-fortes. Cologne: Taschen. GOETZ, I., LENCSÉS, L., SCHOR, G., VINKEN, B. 82015). Cindy Sherman. Ostfildern-Ruit: Hatje Cantz. JOICE, P. (1999). Hockney on Art: conversations with Paul Joice. London: Little brown. KABAKOV, I., KABAKOV, E. (2005). An Alternative History of Art: Rosenthal, Kabakoc, Spivak. Bielfeld: Kerber KABAKOV, I., KABAKOV, E. (2003). Where is our place? Milano: charta. KUSTER, U. , SHFF, R. (2015), Peter Doig. Ostfildern-Ruit: Hatje Cantz. SLAGER, H. (2015). The Pleasure Of Research. Ostfildern-Ruit: Hatje Cantz.