visual thinking, visual perception, post-media condition, art and architecture interaction, compositional skills, artistic interpretation, critical thinking
Course Content (Syllabus)
When international visual arts practice is exploding constantly towards every possible direction, a phenomenon that includes the «outdated» medium of painting, how does one can define a minimum level of knowledge and skills in a visual arts course?
The question can only be answered by generating more questions. Even if the application of known models («academic», «Bauhaus», «deconstruction», etc.) seems to strengthen the possibility of the production of an attractive visual product which would be enough «contemporary», the importance is primarily the «experience of the studio». It is in the context of this experience that the gaze of the visual artist is being formed. In this context, desire, experimentation, success and failure are in dialogue with history and the contemporary visual and cultural instance.
Lectures - discussions aiming to help students overcome the fear about the «hermetic» field of art, presentations-discussions of personal themes and subject-matters and, of-course, experimentations with material and procedures of personal projects. The students, through the tutorials are getting concrete on their logic and media and define what is at stake.
optical media, representation, visual arts, art and architecture
Course Bibliography (Eudoxus)
HAL FOSTER, R. KRAUSS, Y.A. BOIS, B. BUCHLOH, Η ΤΕΧΝΗ ΑΠΟ ΤΟ 1900 ΜΟΝΤΕΡΝΙΣΜΟΣ ΑΝΤΙ ΜΟΝΤΕΡΝΙΣΜΟΣ ΜΕΤΑΜΟΝΤΕΡΝΙΣΜΟΣ, εκδ. επικεντρο