藝術創作基礎

This is a foundational art course, taught in English with international academic standards, focuses on the following: 1) Introducing the past her(his)story of human art making. 2) Analyzing different elements in contemporary fine arts and designs through studying 2D (surface), 3D (space), and 4D (time) artworks. 3) Discussing and fostering the significance of Critical and Visual Studies in art making. 4) Deconstructing the impacts of identity, gender, and class politics on conceptual art within a Postmodernist structure. 5) Cultivate necessary skills to succeed as a global artist within the current social norms of urban socioeconomics. 6) Applying all above knowledge to each student individually, suited to each student’s personal practices. The course is divided into six elements of learning nodes optimized for how we now intake information visually. The practical aspects of this class seek to firmly develop each student’s independent understanding through contemporary art his(her)story, to acquire the ability to critique art, and to explore uncharted territories of creativity in each student’s life. 這是一門基礎藝術課程,以國際標準的全英語授課,主要內容如下: 1) 介紹人類藝術創作的她/ 他歷史。 2) 透過研究2D (平面)、3D (空間)和4D (時間)藝術作品,分析當代藝術和設計中的不同元素。 3) 將「批判性」和「視覺理論」做為藝術創作中的重要意義,進行討論與養成。 4) 對於身份、性別和階級政治的解構,在後現代主義結構中對概念藝術的影響。 5) 培養必要技能,在當前都市經濟的社會準則下,成為一名成功的全球性藝術家。 6) 將上述所有知識個別地應用於每位學生,合乎每位學生的個人實踐。 課程分為以上六個元素,學習要點為當今我們如何以最佳化的視覺方式來汲取資訊。在實踐方面,經由了解當代藝術的她/他歷史,來強化學生對藝術的獨立理解,習得批判藝術的能力,並鼓勵每位學生在生活中探索創意的未知領域。

All are welcomed to this course. However, students with following abilities and/or needs are especially encouraged to take this class: 1) Students with intro-level experiences in art making. 2) Students with a strong interest in exploring the socio-political context of contemporary fine arts. 3) Students who are interested in Feminism, Queer theory, Gender studies, and Post-Marxist critiques. 4) Students who are planning to study abroad. 5) Students who are sick of the system and require a further Institutional Critique. 6) Students who need to find themselves and redefine who they are. 這門課程歡迎所有人參加,且特別鼓勵具有以下能力或需求的學生加入: 1) 在藝術創作方面有入門經驗。 2) 對於探索當代藝術的社會政治背景具有強烈興趣。 3) 對女性主義、酷兒理論、性別研究和後馬克思主義批判感興趣。 4) 計畫出國留學。 5) 對體制感到厭倦,想進一步對體制提出批判。 6) 需要找到並重新定義自己的學生。

無備註

- www.jstor.org, JSTOR is a digital library of academic journals, books, and primary sources. - www.vdb.org, Video Data Bank (VDB) is a leading resource in the United States for video by and about contemporary artists. The VDB’s collection has grown to include the work of more than 600 artists and 6,000 video art titles. VDB is dedicated to fostering awareness and scholarship of the history and contemporary practice of video and media art through its distribution, education, and preservation programs.

- Midterm A visual, kinesthetic, or auditory and finished artwork. A detailed proposal is required prior for any finished project. - Final A finished artwork involving, referencing, or incorporating emotional, critical, and/or technological approach in life. A detailed proposal is required prior for any finished project.

• The elements and principles of design

  The elements and principles of design are the building blocks used to create a work of art. Elements of Art are the visual "tools" that artists use to create an art work - they are what makes up an image or an art object: line, shape/form, value, color, space, and texture. Principles of Design are the ways artists use the Elements of Art in an artwork - this is "what we do with the Elements" - how we arrange them, how we balance them, what is being emphasized, etc.

• Conceptual art

  Conceptual art is art for which the idea (or concept) behind the work is more important than the finished art object. Artists associated with the Conceptual Art Movement attempted to bypass the increasingly commercialised art world by stressing thought processes and methods of production as the value of the work. The art forms they used were often intentionally those that do not produce a finished object such as a sculpture or painting. This meant that their work could not be easily bought and sold and did not need to be viewed in a formal gallery situation. It was not just the structures of the art world that many conceptual artists questioned, there was often a strong socio-political dimension to much of the work they produced, reflecting wider dissatisfaction with society and government policies.

• Visual and critical studies

  In our contemporary urban life, we experience visuality and its constantly shifting culture phenomena everyday. "Visual culture is a way of studying a work that uses art history, humanities, sciences, and social sciences. It is intertwined with everything that one sees in his day to day life - advertising, landscape, buildings, photographs, movies, paintings, apparel - anything within our culture that communicates through visual means. When looking at visual culture, one must focus on production, reception, and intention, as well as economical, social, and ideological aspects. It reflects the culture of the work and analyzes how the visual aspect affected it. It focuses on questions of the visible object and the viewer - how sight, knowledge and power all are related. Visual culture analyzes the act of seeing as 'tension between the external object and the internal thought processes'. Visual and critical studies enable students to critically unpack such visual information and meaningfully situate their journey/research within a broader epistemological horizon.

• Contemporary art his(her)story

  Art history doesn’t consist in simply listing all the art movements and placing them on a timeline. It is the study of objects of art considered within their time period. Studying the art of the past teaches us how people have seen themselves and their world, and how they want to show this to others. Art history provides a means by which we can understand our human past and its relationship to our present, because the act of making art is one of humanity's most ubiquitous activities.

- Chromophobia, David Batchelor, Reaktion Books, 2000 - Launching the Imagination: A Comprehensive Guide to Basic Design, Mary Stewart, McGraw-Hill Education; 4th edition, 2011 - The Critique Handbook: A Sourcebook and Survival Guide, Kendall Buster and Paula Crawford, Pearson; 2nd edition, 2009 - Simulacra and Simulation, Jean Baudrillard, Semiotext(e), 1983 - Power (The Essential Works of Foucault, 1954-1984, Vol. 3), Michel Foucault, Penguin, 2002 - Our Aesthetic Categories: Zany, Cute, Interesting, Sianne Ngai, Harvard University Press, 2012

地點

TBA and online

時間

TBA

聯絡方式

NYCU email