Niki Kriese

In this course, we will look at ways in which we can build a collection of inspiration and research. Guided by students’ interests and previous knowledge, we will use this research to work toward a body of paintings that pushes past expectations. This will take form as readings, exploratory walks, in-class collaboration, weekly prompts, and longer projects. This course will be guided by the principle that artists can work intentionally toward research and that there is also unexpected research that happens when you are curious and open. We will discuss and play with strategies for facilitating both. We will talk about artists’ collections and Wunderkammers, also known as cabinets of curiosities, and students will be encouraged to build their own collection over the course of the semester. This course will be a supportive environment for those just starting out, as well as for students with more making experience.

This course will start with a foundation of figure drawing and painting to set the stage for further exploration in identity, collaboration, and touch. We will use the body as an opportunity to build skills in proportion and perspective but also to consider the body as a location of power and vulnerability. From lectures and independent research, we will learn about traditional and experimental portraiture and think about how we can use both to communicate. We will consider the different roles involved in a work of art (maker, collaborator, subject, viewer, etc.). We will discuss topics such as clothing and fashion, agency, the five senses, and Frankenstein, to name a few. There will be an emphasis on working from observation, as well as from imagination, invention, and material experimentation. We will begin with weekly prompts and transition to longer projects and incorporate conference work, building toward a body of 8-12 completed paintings.

This course will focus on the foundations of making a painting, from learning about basic tools and materials, to value, color, composition, and to how to develop our ideas and communicate them. Drawing is an important part of painting, and we will work on developing an understanding of line, perspective, mark-making, and gesture. We will work from observation, such as still life setups and our environment, as well as invention and imagination. Within these modes of working, we will incorporate and discuss both abstraction and representation, looking at examples and defining these for ourselves. While focusing deeply on the hands-on nature of making, we will keep an eye on the contemporary art world as well as historical examples, through individual research and in-person gallery visits. Participation in individual and group critique is a crucial component, and will strengthen our analytic eye and expand our vocabulary. Critiquing the work of peers’ will be a requirement and we will talk through strategies for the best way to do this. For the first part of the semester, work will consist of in-class exercises and weekly prompts, which are intended to strengthen skills taught in class, as well as challenge students to stretch their imagination and make connections. Later, we will transition to longer projects and conference work, which will be more open but structured by brainstorming, writing, and planning. All of this work will require preparatory sketching, problem solving, and rethinking of your first idea. The classroom will be a laboratory where students can experiment, get feedback, and make bold moves, while building a strong foundation in learning about other artists and artworks that have come before. The goal is to grow as artists by being open to these challenges, being curious, and being willing to go outside your comfort zone.

In this course, we will look at ways we can build a collection of inspiration and research. Guided by students’ interests and previous knowledge, we will use this research to work toward a body of work that pushes past expectations. This will take the form of readings, exploratory walks, in-class collaboration, chance, and moving images, among other avenues. This course will be guided by the principle that artists can work intentionally toward research and that there is also unexpected research that happens when you are curious and open. We will discuss and play with strategies for facilitating both. Assignments will consist of weekly prompts and longer projects that incorporate sketchbook brainstorming and planning. We will talk about artists’ collections, and Wunderkammers, also known as cabinets of curiosities, and students will build their own collection over the course of the semester that will culminate in a final project. This course will be a supportive environment for those just starting out, as well as for students with more making experience. Students can expect to end the semester with 6-10 finished pieces.

This course will focus on painting at an intermediate level, with an emphasis on working from observation as well as imagination, invention, and material experimentation. This course will start with a foundation of figure drawing and painting to set the stage for further exploration in identity, collaboration, and touch. We will use the body as an opportunity to build skills in proportion and perspective, but also consider it as a location of power and vulnerability. From lectures and independent research, we will learn about traditional and experimental portraiture and think about how we can use both to communicate. We will consider the different roles involved in a work of art (maker, collaborator, subject, viewer, etc.). We will discuss topics such as clothing and fashion, agency, the five senses, and Frankenstein, to name a few. We will begin with weekly prompts and transition to longer projects and conference work, building toward a body of 8-12 completed paintings.