Tuesday, February 16, 2016

Week 5: TARRY (Join)


Ellsworth Kelly




















Maybe in class I'll tell you about why this word is so important--or at least the story about how I came upon it. I'm wondering of each of you has a set of associations? I mean, yes, there's the literal meaning--but more, the way that meaning gets grounded in terms of experience... And how the word reflects that experience (the way Daniel's small painting reflected his experience of the room in Delhi...)

One hint: there's a church meaning that's quite specific--not one we'd all share, but illuminating nonetheless...
______

Rain
Peter Everwine

Toward evening, as the light failed
and the pear tree at my window darkened,
I put down my book and stood at the open door,
the first raindrops gusting in the eaves,
a smell of wet clay in the wind.
Sixty years ago, lying beside my father,
half asleep, on a bed of pine boughs as rain
drummed against our tent, I heard
for the first time a loon’s sudden wail
drifting across that remote lake—
a loneliness like no other,
though what I heard as inconsolable
may have been only the sound of something
untamed and nameless
singing itself to the wilderness around it
and to us until we slept. And thinking of my father
and of good companions gone
into oblivion, I heard the steady sound of rain
and the soft lapping of water, and did not know
whether it was grief or joy or something other
that surged against my heart
and held me listening there so long and late.

Wednesday, February 10, 2016

Week 4: RETURN

Van Gogh,  Landscape with Woman Walking. Before 1886.

















 Thinking about RETURN...

I looked for a very long time to re-find this poem. Years, actually. David Fisher (the author) must have written it in the 1970s, and the poem has stayed with me. I thought of it again yesterday, and this time, there it was--on a pdf in of an essay about keeping a journal. Someone had typed it up. The meaning has changed a little (how not, over 40-some years?--but the feelings remain very true...

























Wednesday, February 3, 2016

Week 3: EDGE

Morris Graves, Spirit Bird, 1953



















I was surprised when several of you told me you'd spent the entire last semester focusing on EDGE. So of course, there can always be professional connections. But then I added--make it psychological--by which I mean the edge within the edge, or the wall within the wall... or the you within the you...

They were good projects last night--each in its own way--and we moved along at a reasonable clip. Glad for both. Do keep up the quality. What you do registers with everyone in the group--starting with what each project means to you personally. And there were lots of explorations--which was engaging. That is, the questions you're asking (as in Alison's by-hand & by-machine, or Elva's lonely road --10 panels, or Esther's materials & processes and light, or Daniel's India room painting and memory--or Alex's "successful and unsuccessful..." or Judith's fork on signature USPO mailer, or Marco's favorite book dragon, or Robin's touch of light--or  Tamara's beautifully re-colored wood--or David's warm wall quandary--or Josiah's--well, Josiah's edges...and two blues...). Which made me think, in many cases, just keep going--we'll see together where it leads...!

Spirit bird...



Thursday, January 28, 2016

Week 2: LONG

Van Gogh, Landscape near Arles, Montmajour 1888





























These late landscape drawings of Van Gogh are remarkable--best seen in person, of course, but the reproductions aren't bad for a start. We'll look next week at the relationship between his early work (including some early landscapes) and these late drawings. Lots to think about.

The class on Tuesday was good. Everyone was engaged (that's important!) and we got off to a good start. Keep it up. Let your hand show in the work--and the feeling(s) behind the words...

Apropos--I already mentioned this to Josiah, but I think it would be good for all of us. David Aiperspach (who did these Visual Studies classes with me some years back, when he was an undergrad here in landscape arch--before going on to an MFA in painting at RISD) has one painting in the SpaceOpen that's now up in Wurster Gallery. I want you ALL to go and spend some time looking at David's work, and I want you WRITE something about the experience. Post on you class notebook as separate entry--or build into your LONG post.  The painting is worth everyone's time. It's not about words--but I want to see how you use words to get at what it IS about...

Tuesday, January 26, 2016

Students' Online Journals

Eugene Delacroix


















 ON-LINE JOURNALS (Use blogger format--blogspot.com). This notebook is a way of sharing and writing about, and picturing, your exploration. It will keep us informed as to what you're doing, what you're thinking. Post your projects here each week as well. It's important that you post each week--that you keep these notebooks up to date.

Writing. Some people enjoy, others not.  But setting words to what you do is important--and necessary, especially in the way things work today. For an historical example see Van Gogh's letters to his brother Theo--or (my favorite) Eugene Delacroix's Journal. Both inspiring...

Set up your site using blogger (blogspot.com). Send me an active link URL to your homepage soon--before third class. Start with a post about who you are--include image of our worked sheet of paper. New people will need to do this too--ask me in class.

I will post links here so that you can see each others work as posted. Another way of considering what each person has done, and where we're going... 

LINKS:

Alexander Craghead   http://berkeleycitylimits.blogspot.com/
 

Daniel Dominguez       http://canwegointhere.blogspot.com/
 

Marco Sanchez           marcosvisualstudiesjourney.blogspot.com
 

David Koo                   http://vs280dkoo.blogspot.com/
 

Robin Chandler          https://robinlchandler.wordpress.com
 

Judith Ktjrca                http://stepfalterstandagain.blogspot.com/
 

Alison Ecker                https://workingonitblog.blogspot.com      

Elva Li                         http://elvaali.blogspot.com/
 

Tamara Kalo                tamarakalo2.blogspot.com
 

Josiah Mackey              http://josiahmackey.blogspot.com

Esther McKenzie           http://esthervis280.blogspot.com/       
 


Tuesday, January 19, 2016

Week I: TOUCH

Drawing by Pierre Bonnard, ca. 1920, pencil on paper, 4.25" x 6.25"






















We talked a little about why Bonnard made this drawing. That is, what were his questions? In some sense, Bonnard is the least likely painter to pose work in terms of ideas. Rather, he was given to the visual--the look of the world, his experience in seeing it. Perforce this involved his own life--that is, the dailiness of his life. Surroundings, people close (most often his wife, Marthe), sometimes one of their animals (a dachshund appears with some frequency). He'd speak of the motif in a painting--by which he meant not the subject (in an idea sense) but the particular visual form of a scene. The way a shadow caught the edge of a table, or the sunlight colors shifting on what might technically be a monochromatic wall. As far as I know, he never wrote a great deal--but he did carry a small notebook in which to record the date, the weather, maybe a note or two about color. The drawing above will give you an idea. At once very open and very accurate. Understanding Bonnard's accuracy is a beautiful and ongoing challenge.

An accuracy of touch...

Monday, January 18, 2016

VS 280: Course Description


Visual Studies 280 Graduate Seminar: Beginnings
Spring 2016 / 1-3 units  (CCN 04307)
Tuesday Evenings / 6-9:30pm / Room 170 Wurster
Anthony Dubovsky

This is a class about imagination and ideas. A road trip, perhaps—or a voyage. We begin each week with a theme—often a single word---as point of departure. Each person in the group does a project in response—a drawing, a painting, a collage—the medium is open. In the following class we look at the work, and a conversation ensues. And then, a new word.

Note that the hand is important throughout--how the sense of touch becomes a guide.

Following this format, the class develops a certain rhythm--a kind of opening. Not just in terms of skill (although skill can play a part), but more in finding the right visual language to give form to one’s feelings about and understanding of the surrounding world. A challenge that carries over into any of the design fields—and beyond…. 

Important: Since discussion is central to each class, students need to be fully confident in spoken English—both comprehension and conversation.

Required: One project each week, made with energy and commitment... Attendance at all class meetings, and a well-crafted book with reproductions of your work, including a short essay about your journey, due at the end of the term. Open to grad students and some seniors from all departments, but limited in enrollment to 12 students.  This can be a good place to explore your initial thesis ideas.

If you're interested, send Anthony Dubovsky an e-mail with a paragraph or two about yourself and your backgound in the arts, along with 2-3 jpegs of your work. Make sure your name is on each jpeg. Send before August 20 to the following email address: chambersstreet[at]hotmail.com. Earlier applications will receive priority.