Vera Iliatova

BA, Brandeis University. MFA, Yale University. Represented by Monya Rowe Gallery in New York City, venue of her fifth solo exhibition to be held in spring 2015. Work included in numerous exhibitions in the United States and abroad at venues that include: Galleria Glance, Torino, Italy; Mogadishni Gallery, Copenhagen; New Langton Art Center, San Francisco; Artist Space, New York; and David Castillo Gallery, Miami. Previously held full-time teaching appointments at Massachusetts College of Art, University of California—Davis, and University of New Hampshire. Recipient of residencies at Skowhegan School of Art and Vermont Studio Center; awarded a free studio space in The Space Program at the Marie Walsh Sharpe Foundation, 2007/2008. SLC, 2014–

Course Information

Current undergraduate courses

Beginning Painting: From Observation to Invention

Fall

This course is an introduction to the materials and techniques of oil painting. There will be an examination of various painting strategies that fluctuate between specific in-class assignments and individual conference projects. The primary focus will be an elaboration on rudimentary concepts such as color, tonal structure, spatial construction, painting surfaces, and composition. The fall semester focuses on the subject of still life and landscape. These subjects will be the starting point for experimentation with spatial structures ranging from direct observation to composite constructions. We will also explore narrative possibilities that landscape and still-life paintings can imply, and we will examine the role of these subjects in the history of painting and other visual media. The course will culminate in an individual project that will be researched by the student and discussed during conferences and course critiques and will include a large-scale painting. In-class assignments will be supplemented with PowerPoint presentations, reading material, film clips and video screenings, group critiques, and homework projects. Students are required to work in the studio outside the class time in order to develop the work. The goal of the course is to gain confidence with technical aspects of painting and to begin to establish an individual studio practice.

Faculty

Beginning Painting: From Observation to Narrative

Spring

In this course, students will be introduced to the materials and techniques of oil painting. There will be an examination of various strategies that fluctuate between specific in-class assignments and individual studio work. Drawing, color theory, and color mixing will be an integral part of the course. We will focus primarily on portraiture and figure, as well as historical, psychological, and narrative implications of using a human form as a subject. There will be an exploration of studio-based strategies that will include working from observation and using mediated imagery such as film stills, photography, and art history. The course will culminate in an individual project that will be researched by the student and discussed during conferences and course critiques and will include a large-scale painting. In-class assignments will be supplemented with PowerPoint presentations, reading material, film clips and video screenings, group critiques, and homework projects. Students are required to work in the studio outside the class time in order to develop the work. The goal of the course is to gain confidence with technical aspects of painting and to begin to establish an individual studio practice.

Faculty

Previous courses

Beginning Painting: Composite Constructions

Fall

This course is an introduction to the materials and techniques of oil painting. There will be an examination of various painting strategies that fluctuate between specific in-class assignments and individual conference projects. The primary focus will be an elaboration on rudimentary concepts such as color, tonal structure, spatial construction, painting surfaces, and composition. The fall semester focuses on the subject of still life and landscape, subjects that will be the starting point for experimentation with spatial structures ranging from direct observation to composite constructions. We will also explore narrative possibilities that landscape and still-life paintings can imply and examine the role of these subjects in the history of painting and other visual media. The course will culminate in an individual project that will be researched by the student and discussed during conferences and course critiques and will include a large-scale painting. In-class assignments will be supplemented with PowerPoint presentations, reading material, film clips and video screenings, group critiques, and homework projects. Students are required to work in the studio outside the class time in order to develop the work. The goal of the course is to gain confidence with technical aspects of painting and to begin to establish an individual studio practice.

Faculty

Beginning Painting: Narrative Structures

Spring

In this course, students will be introduced to the materials and techniques of oil painting. There will be an examination of various strategies that fluctuate between specific in-class assignments and individual studio work. Drawing, color theory, and color mixing will be an integral part of the course. We will focus primarily on portraiture and figure, as well as the historical, psychological, and narrative implications of using a human form as a subject. An exploration of studio-based strategies will include working from observation and using mediated imagery such as film stills, photography, and art history. The course will culminate in an individual project that will be researched by the student and discussed during conferences and course critiques and will include a large-scale painting. In-class assignments will be supplemented with PowerPoint presentations, reading material, film clips and video screenings, group critiques, and homework projects. Students are required to work in the studio outside the class time in order to develop the work. The goal of the course is to gain confidence with technical aspects of painting and to begin to establish an individual studio practice.

Faculty