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(Please scroll for English) Erfaring kurs - Maleri og etter - BK1161, høsten 2023Studentene kan i utgangspunktet velge en mer praktisk, eller teoretisk versjon av dette emnet, noe som førte til en inndeling i to grupper med større kontra mindre forkunnskaper om emnet. Sistnevnte gruppe lærte å strekke lerret, fremstille maling, osv. Mens førstnevnte gruppe direkte fokuserte på maleoppgaver vi hadde forberedt for dem. Nesten alle ønsket å fokusere mer på praktiske ferdigheter. Vi brukte imidlertid litt tid på presentasjoner av samtidskunstnere basert på vår forskning, som vi ga studentene. Vi krympet teoridelen til et minimum. Elevene kunne lese den hjemme hvis de ville. Siden vi hadde mange påmeldte studenter i år, 34 i utgangspunktet og 28 på stedet, ble det vanskelig å kommunisere og fremfor alt å samarbeide som nødvendig innenfor en klasse som denne. Det ble derfor jobbet mye i mindre grupper, og KiT ansatte en assistent som kunne holde deler av undervisningen. Fremfor alt i de små gruppene som krever flere lærere samtidig. Innholdet i klassen ble satt pris på i evalueringene. Når det gjelder metodene for å være vertskap for en så stor klasse, må vi lære oss. Timingen / tidslinjen for timene vi deler må være klarere. Jeg er ikke vant til å lede store grupper i samarbeid. Men det er fullt mulig å ha enda større klasser i fremtiden. Nedenfor er en nøkkel til hvor mange lærere vi må være for å arrangere dette:Klassen ledet av én professor alene kan være vert for 16 studenter. Med en ekstra assistent som følger kurset kan det være vert for 26 studenter. Med to ekstra assistenter som følger kurset kan det være vert for 36 studenter. Og så videre. Vi kan ta imot mange studenter hvis de blir fulgt av assistenter, og det er stor nok plass til å samle oss alle til forelesningene på KiT. Dersom det er behov for et utvalg studenter på forhånd, må studentene skrive motivasjonsbrev. Forkunnskaper innen maleri er ikke etterspurt, men motivasjon og tilstedeværelse er det. En barnesykdom i denne nå større klassen var også at noen elever følte seg mindre sett enn andre i arbeidet. Dette gjaldt hovedsakelig de med større forkunnskaper. De krever mer spesifikk personlig veiledning, samt koordinering av arbeidsplasser. Dette da disse elevene spredte seg ut i sine egne studioer over hele skolen denne gangen og dermed ble utillgengelig. Studentene så på de ulike nivåene av kunnskap og erfaring/mangfold i gruppene mer som en fordel, enn som et problem. Denne klassen kan vokse og bli størreKonklusjon: Denne klassen kan vokse og bli større og inkludere studenter fra flere institutter innen NTNU. (Ikke bare AD &amp; Industrial Design Engineering.) Det eneste kravet er at vi ansetter en assistent per ekstra 10 studenter mens kurset pågår. Og at vi i teamet som leder dette lærer å styre disse små gruppene i samarbeid. Experiences Course - Painting and Beyond - BK1161, Fall 2023The students are initially able to choose a more practical, or theoretical version of this course, which led to a division into two groups with greater vs. less prior knowledge on the subject. The latter group learned to stretch canvas, grind paint, etc. While the former group directly focused on painting tasks we had prepared for them. Almost everyone wanted to focus more on practical skills. However, we spent some time on presentations of contemporary artists based on our research, which we gave the students. We shrunk the theory part to a minimum. The students could read it at home if they wanted. Since we had a lot of registered students this year, 34 initially and 28 on site, it became difficult to communicate and above all to collaborate as necessary within a class like this. A lot of work was therefore done in smaller groups, and KiT employed an assistant who could hold parts of the teaching. Above all in the small groups that require a second teacher. The content of the class was appreciated in the evaluations. Regarding the methods for hosting such a big class we need to learn. The timing / timeline of the hours we share needs to be clearer. I am not used to leading large groups in collaboration. But it is totally doable to have even bigger classes in the future. Below a key to how many teachers we need to be for managing this:The class run by one professor alone can host 16 students. With an additional assistant following the course it can host 26 students. With two additional assistants following the course it can host 36 students. And so on. We can host many students if they are followed by assistants, and there is space big enough to gather all of us for the lectures at KiT. If a selection of students in advance is needed the students will have to write motivation letters. Previous knowledge in painting is not demanded, but motivation and presence are. A childhood disease in this now larger class was also that some students felt less seen than others in their work. This mainly applied to those with greater prior knowledge. They require more specific personal supervision, as well as co-ordination of workplaces. This as these students spread out in their own studios all over the school this time and became unreachable. The students regarded the different levels of knowledge and experience / diversity in the groups more as an asset, then as a problem. This class can grow and become largerBottom line: This class can grow and become larger and include students from more departments within NTNU. (Not just AD &amp; Industrial Design Engineering.) The only requirement is that we hire one assistant per extra 10 students while the course is in progress. And that we in the team leading this learn to manage these small groups in collaboration.

NTNU:TIA:REST

Kunstakademiet i Trondheim

Trondheim Academy of Fine Art

Engelsk

Norsk

Mer om vurdering

<ul><li>Vurdering av kunstnerisk progresjon ved presentasjon eller innlevering av arbeid produsert i emnet eller dokumentasjon herav.</li><li>Dokumentasjon: Tilstrekkelig visuell, audiovisuell, skriftlig eller annen dokumentasjon av aktiviteter, prosesser og resultater for å representere utviklingen av arbeidet og/eller prosjektet i kurset.</li><li>Utsatt vurdering avholdes i førstkommende semester.</li></ul>

Faglig innhold

Dette emne tar deg ut av studioet ditt og gir deg nyttige begreper basert på maletradisjonene i Frankrike og i New York, som du kan bruke teoretisk og i ditt praktiske arbeid. Vi vil undersøke maleriets posisjon i dag og prøve ut forskjellige male-metoder som f.eks. «overalthet», formveving, varmt og kaldt, dialektikken mellom overflate og dybde, virkelighet og illusjon, perspektiv med mer. Dette er et praktisk kurs, hvor vi lærer å mikse pigmenter, bygge en ramme og strekke et lerret og grunne det. Vi vil eksperimentere med å sette sammen våre verktøy på nye måter for å bygge unike ting. Det er også et teoretisk kurs. Sammen undersøker vi disiplinens teori og historie, og hva maleriet utviklet seg til etter fotografiets oppfinnelse og påvirkning opp til samtidens avantgarde av fortrinnsvis sorte, tredjeverdens, skeive og feministiske malere. Vi undersøker nye muligheter og hvordan «Ny Materialitet» har fått dette området til å eksplodere. 

Kursmateriell

Læringsutbytte

Studenten har praktisk og teoretisk kunnskap om maleri. Studenten har kunnskap om noen tradisjoner innen maleri, samtidens status for maleri og de iboende muligheter mediet har i samfunnets fremtid. Studenten har en grunnleggende forståelse for plasseringen av egne maleriaktiviteter i samtids- og historisk diskurs. 

Læringsformer og aktiviteter

Felles praktiske og teoretiske eksperimenter, forelesninger, gruppediskusjoner, kurs og seminarer som gjelder produksjon av maleri og utstilling. Mulighet for utstilling.Spesielle vilkårEmnet undervises ikke dersom for få studenter melder seg til undervisning. Godkjente obligatoriske aktiviteter er gyldige i inneværende semester.

Deltakelse i emneaktiviteter 

Praktisk oppgave

Presentasjon  

Maleri og etter

Billedkunst

Billedkunst - bachelorstudium

Industriell design - masterstudium (5-årig)

Arkitektur - masterstudium (2-årig)

Arkitektur - masterstudium (5-årig)

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The clarity of the new literature I have found regarding painting seems to fascinate our students. This part of the class is groundbreaking for this subject also on an international level. Making this class playful and more inclusive the next time we do it is no problem. For the next time I simply propose this class more involves the individual work of the participating students.
Tilltak: Individual & group tutorials. No problem.



Tiltak

Maleri. og etter

18.11.2022

The class included many different educational formats: Group tasks, Individual tasks, Student-based learning, Guided student-based teaching, Mutual collective reading & discussions, short lectures, collective lecturing, 2 recently examined MFA-students teaching, group crits, seminars, Individual guidance/tutorials.
In the 2nd meeting of the class the students were asked to decide if they wanted a more practical or a more theoretical version of this class. And if they wanted a more collaborative or individual version of this class within our workshops. They chose the practical & individual version. 

On the last day of the class the students were asked to decide if they wanted to show the results of our class mutually within a show at Gallery KiT organised for the “Open Academy 2022”. I proposed the title “Pigs and Clouds”, for our works depicting yes: pigs & clouds, and that is what we came to do as finale for this class. A group of paintings without pigs and clouds were hung low in the exhibition and titled: "For Dogs and Children." (Making it possible to bring all the works from this class together.)

The class attracted many students from many different departments, and many students. Despite the gap in knowledge around the subject all students found this to be an asset. I propose to let all NTNU students to this class. This works at the Salzburg Academy of Fine Art, and would work for us as well, I believe.

Some students wish for more clarity and predictability in this class. Maybe the class description could be clearer, for this class which wants to take in and improvise close to the needs and capacities of the students regarding method and direction. Maybe the hours expected by the students to invest in own work needs to be scheduled? Writing: "the class is held on Thursdays 09:00—12:00h and also demands some work in between" may bee is not clear enough?

BK1161, Maleri og etter / Painting Is Not Dead, It Just Smells Funny

The class included many different educational formats: Group tasks, Individual tasks, Student-based learning, Guided student-based teaching, mutual collective reading &amp; discussions, short lectures, a collective lecture, 2 recently examined MFA-students teaching, group critiques, seminars, Individual guidance/tutorials.In the 2nd meeting of the class the students were asked to decide if they wanted a more practical or a more theoretical version of this class. And if they wanted a more collaborative or individual version of this class within our workshops. They chose the practical &amp; individual version.  On the last day of the class the students were asked to decide if they wanted to show the results of our class mutually within a show at Gallery KiT arranged for the “Open Academy 2022”. I proposed the title “Pigs and Clouds”, for our works depicting yes: pigs &amp; clouds. A group of paintings not depicting pigs and clouds were hung low with the title: “For Dogs and Children”. This to make it possible to show all the works produced in the class.

The students’ achievement of the learning outcome worked well. Results good enough to present in public. The class attracted students from many disciplines, and this is considered a great asset in the evaluations included. This despite the knowledge gap between the experienced and unexperienced. So why not open this class to all NTNU students? At the Salzburg Summer Academy for Fine Arts they have been doing this since 1953. And it works. For the interdisciplinarity of NTNU this would be a productive model, no?

Some students wanted our class to be more predictable. This although it is planned to react closely to the needs and capacities of the students. May bee writing: “klassen holdes på torsdager 09:00–12:00 og krever også litt arbeid innimellom” is not clear enough? Should the work in-between our meetings also be specified to make this clear?

<ul><li>Deltakelse og produksjon som presentasjoner av prosjekter eller arbeider. </li><li>Utsatt/ny eksamen holdes i neste eksamensperiode.</li><li>Deltakelse i læringsaktiviteter som seminarer og prosjekter er obligatorisk. </li></ul>

Felles praktiske og teoretiske eksperimenter, forelesninger, gruppediskusjoner, kurs og seminarer som gjelder produksjon av maleri og utstilling. Formell evaluering til slutt. Mulighet for utstilling. Spesielle vilkårUtsatt/ny eksamen holdes i neste eksamensperiode.Emnet undervises ikke dersom for få studenter melder seg til undervisning.

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Student Evaluations:I am in the group of people that evaluates the course painting and beyond and I am the only one in the course left to do it. I don't have access to Teams where I should usually do it said Felix, so he said I should just write the evaluation in a short text to you. I hope that works as well?We discussed all these points with the whole class today, I am just summarizing it.Evaluation for painting and beyond 2021 The texts we read were well choosen and it was the exact right amount of theoretical texts we read. It was a nice mix of theory and practices. But it would have been nice if we discussed more images, we wished for more depth, because the techniques we were taught were a bit too basic. We wished for more individual tutorials included and more practical tasks - maybe more content and a bit less techniques. The freedom we had in this class was nice but it would have been better if we also had a mission for the end of our course and maybe to include some guests next time. /Techer comment: no spelling corrections or editing have been done in this text above. It is what it is. And: this last proposal about guests, came based on a question asked directly by me, and did not come out of any idea from the students. They all were happy with the guests we had coming in out of the essays we read out loud for each other within this class every morning we met for an hour./ Below an additional individual evaluation from a student not present the day of evaluation:Jeg ville bare få sagt til diskusjonen av kurset at jeg var veldig fornøyd med å kunne fokusere på ledet eksperimentering og utprøvelser fremfor å jobbe mot en spesifikk utstilling. Det var også fint å få lest noen tekster som gruppe, så vi hadde noen felles holdepunkter i diskusjon.  My evaluation:The plan for this class, this time, was to reach in, and not out. To find the core of this subject area and not go too much into examples, I.e. invite guests, look out, etc. I wanted to strip this class down to the pure essence of what this discipline is about right now, and can be in the future, and make the students understand this &amp; pay attention to this. I skipped all student based learning, (which some students at KiT have disliked before), and delivered only well argued and relevant content. Every morning we met at 9AM we practiced reading aloud for each other for an hour. This act of sharing over a cup of coffee worked very well, as the students also say. In a way this class was my try on delivering a testimony with absolute clarity on a subject which traditionally is based on so called “silent knowledge” or “implicit knowledge”, and generates quite a big amount of blurry and unclear writing and thinking in the art world, as opposed to what happens within other disciplines in the visual arts which are creating discourses. The short, dense and informative essays I presented obviously gave the students some insight about what painting is today and can be in the future. Giving them ideas about what to do about it themselves. To articulate what painting is now in a landscape of conceptual art and in an era of identity politics, eco-emotions and political turmoil was probably not possible until now. This part of the class seems to have been well received as you can see in the evaluations. The value of this new knowledge will need time to fully be understood, but was well received for the moment.Apart from this appreciated theory, I also presented some useful practical painting methods such as: form weaving — warm &amp; cold — illusion &amp; reality — the dialectics of surface and depth, and more. After a few weeks of training the students didn’t master this, but found this “a bit too basic”. The class syllabus says: it is not realistic to learn a craft within a few workshops, painting is a skill which takes many years to learn. It is like learning to play the Violin. This part of the class caused frustration. Like playing the violin for the first time, I guess?Also in this class we tried out conventional and unconventional tools &amp; techniques. We produced oil paintings on paper, stretched canvas, grinned pigments, but also manufactured photographic Kemigrams and did charcoal drawings observing objects, (observing objects is a forgotten discipline nowadays in the visual arts). The idea about this was to give the students new tools to work with. Working with new tools and tasks create new results, I have learnt from science.However: As I further interpret the evaluation, this class felt a bit of a lack regarding personal attention on the work of the participants. Too little attention on their own work, this class offered they felt.If I do this class again I would better involve the own work the students do. This by involving more mutual studio visits, and investigating the state of affairs of the work they do in their studios in order to make sure they get personal feedback within this class. Not involving their own work and view on each others work enough in this class was what lacked and needs to be payed more attention to next time, I believe.—Having a mutual goal is great. I was open for that to happen, and I tried to find this within our experimentation. From experience though, I have learnt it can be terrible to impose expectations onto experimental classes like these. I tried make expectations grow within our practice and let the students conduct our mission for a public scenario. Not going public with the the results of our class was a decision the students made for themselves in the end. Meeting 8 times for 3 hours is quite a short time to create a momentum for producing a result.—Some wanted a mission for this class. Some did not. Studio visits were offered, but not asked for. However, if I do this class again, I would better involve the own work the students do through imposing mutual and individual studio visits, and more investigate the state of affairs in the students own work. Be more playful. The critique I received regarding student based learning from before made me focus too much on knowledge production regarding this subject, this time. Also I was eager to present my research discoveries regarding this subject which has been a battle through my entire career as an artist.This class became what a recent alumni newly demanded and called: “Spoon-feeding”. Next time I would include more of a mutual interest around the work the students do, and a little bit less Spoon Feeding…Be more playful and search better for whatever comes up among the students.The clarity of the new literature I have found regarding painting seems to fascinate our students. This part of the class is groundbreaking for this subject also on an international level. Making this class playful and more inclusive the next time we do it is no problem. For the next time I simply propose this class more involves the individual work of the participating students.

<ul><li>Deltakelse og produksjon vil bli vurdert gjennom presentasjoner av prosjekter eller arbeider.</li><li>Utsatte eksamener/nye eksamener vil avholdes i den neste eksamensperioden.</li><li>Deltakelse i læringsaktiviter som seminar og prosjekter er obligatorisk.</li></ul>

Den här klassen tar dig ut ur din ateljépraxis och ger dig en första förståelse av den franska- och New York-skolans måleritraditioner. Vi kommer att undersöka målerimetoder som varmt och kallt, ‘all-over-ness’, ‘color-field-painting’ och formflätning. Vi undersöker färg, ljus och illusion.Detta är en praktisk workshop. Vi lär oss att blanda pigment, bygga en ram och sträcka en duk, grundera den och så vidare.  Detta är också en teoretisk workshop. Tillsammans undersöker vi teorin och historien inom denna disciplin och undersöker vad måleri är idag.Denna klass introducerar studenterna till de konflikter som detta medium har varit involverat i historiskt. Detta från den religiösa bilden till hur kameran invaderade måleriet — och vidare till hur mediet befriade sig från denna uppfinning och därigenom blev en förebild för modernism, funktionalism och moderniteten — och om hur detta medium sedan slutade vara en dominerande faktor inom bildkonsten genom "the Picture Generation" på 1980-talet. Vidare ser vi på hur måleriet idag har återuppstått inom identitetspolitiken som ett omistligt dokument för registrering av personliga erfarenheter. Samtidigt ställer kursen frågan om kring vilken plats och i vilket sammanhang du vill att ditt arbete skall hända och söker resonera kring hur du närmar dig din publik.

Färg, pigment, essäer: Douglas Crimp's text 'The End of Painting' och Jan Vervoert's text ‘Why Are Conceptual Artists Painting Again? Because They Think It's a Good Idea.’

Praktiska och teoretiska experiment i samarbete och föreläsningar, gruppdiskussioner, workshops och seminarier kring att producera målningar och utställningar. Formell utvärdering i slutet av kursen. Eventuellt utställning.

Studenten har praktisk och teoretisk kunskap om måleri. Studenten har kunskap om traditionerna inom måleriet och det aktuella läget för måleriet och om de inneboende möjligheter mediet har för framtiden i vårt samhälle. Genom denna kurs har studenten en första förståelse för hur man placerar sina måleriaktiviteter i en samtida och historisk berättelse. Likaså ger en del grundläggande kunskaper om hur man utför en målning.

Maleri og etter 1

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Denna kurs lär studenterna grundläggande kunskaper kring måleri &amp; måleriska verktøy och utvecklar samtidigt varje gång olika strategier som går ut på att visa vad måleri kan vara idag. Den ger också studenterna en överblick kring måleriets historia från den religiösa bilden via industrialismens tid—dess 'död' (Crimp 1986)— och fram till vår egen tid, präglad av delvis andra dilemman.James Meyer, författare, Associate Professor of Art History på Emory University &amp; curator på National Gallery i Washington höll två omdebatterade föreläsningar om två politiska politiska målare. Eller snarare: målare som politiserat sitt måleri. Kursen håller hög både på hantverklig och akademisk nivå, dock är det alltid svårt att förutse hur ämnena landar. Vissa delar av denna kurs har stor resonans och andra delar liten — vilket är lite svårt att värdera. Sammantaget vill kursen generera en attitydförändring kring vad måleri kan vara och öppna ögonen för världen hos studenterna. Men en attitydförändring tar tid, det inser jag.

Læringsutbyttet är oppdatert og relevant i relation till samtidskonsten.Læringsutbyttet är kommunisert så tydligt som muligt och med enkla ord till studenterna. Dock har ambitionsnivån ibland varit för hög och frågeställningarna för komplexa för studenterna.Kursen är dock artikulerad så att den skall fungera utan förkunskaper.

Föreläsningar, diskussioner, seminarier, praktiskt arbete —som var mycket uppskattat. Vi prövade något som försvunnit på de flesta konstskolor: tecknade och målade efter modell. En gipsgris och ett gipslejon. En mycket produktiv övning blev det. En koncentrerad tystnad och närvaro blev detta i kontrast till diskussionerna kring etik og gestalt i kursen.

Vurderingen har varit okomplicerad. Närvaro och engagemang har inneburit = godkänd. Hos del studenter färgar kursens frågeställningar deras ateljéarbete. Detta går fort ibland och tar för en del lång tid.

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