Fine Arts

Code:

AP111

Acronym:

AP

Keywords
Classification	Keyword
OFICIAL	Fine Arts

Instance: 2013/2014 - A (of 09-09-2013 to 15-07-2014)

Active?	Yes
Responsible unit:	Fine Arts Department
Course/CS Responsible:	Fine Arts

Cycles of Study/Courses

Acronym	No. of Students	Study Plan	Curricular Years	Credits UCN	Credits ECTS	Contact hours	Total Time
AP	108	Official Study Plan 2011	1	-	19,5	288	526,5

Teaching language

Portuguese

Objectives

In “Artes plásticas,” what is aimed at is a comprehensive introduction to the arts, understood as the domain of creation, expression and research in the field of the visual arts, thus revealing a relative diversity in its contents. The programmatic lines thus indicated will be strengthened after a branch of specialization (multimedia, painting or sculpture) is chosen, especially in the subsequent classes of “Atelier” I and II.

The work to be developed will thus oscillate between an approach to art materials and the procedures involved in their handling (by making) and the level that defines the very nature of artistic practice (by thinking).

Learning outcomes and competences

To familiarize the student with the basics of multimedia, painting and sculpture,  taking into account the benefits that the resulting knowledge will bring in the future to all students, regardless of the place they will be in after the branching requirements of the course, to be in effect at the second year of the degree, move them to choose between multimedia, painting or sculpture.

Working method

Presencial

Program

Sculpture

The Sculpture classes are primarily oriented to the promotion of different approaches in environments susceptible of a scientific methodological framework in the area of sculpture, nowadays understood, namely, in its modern and post-modern condition — as a broad and multidimensional area, although these same practices should comply with institutional regulations highlighting and investigating the potential importance of the various plastic materials employed in the production of artifacts, but also the necessary critical reflection as regards to its installation.

Some areas of research: Sculpture as a body and a particular expression of culture and knowledge. Dilution of territories. Expanded and multidimensional object. Assemblage and accumulation. Sculpture as object. Matter, form and color. General principles of the construction of sculpture. Primary structures: reduction and economy. Maximum order / minimum means. Structure and volume. The internal design of the form. Opaque and transparent bodies. Hybrid sculpture and multiple body. Environment and surrounding space. Transformation strategies. Principles of composition.

 

Multimedia

The Multimedia classes (or Intermedia) are based on a broad understanding of the idea of ​​plasticity, in close connection with the expanded field of artistic practice. They will function in a regime of interdisciplinarity, oscillating between different media, practices and processes, in contiguity and / or complementary relation with the other subjects of this program. 

[a] BETWEEN WORD AND IMAGE: Text and image, text as image; Image and thought, imagination; Verbal and non-verbal, the tongue and the eye; Image as object, Object as an image; Phonetic and semantic expressivity; Mechanisms of visual space and image building; Translatability and untranslatability between the arts; Narrativity, time and duration; Appropriation, image transfer, reproduction and printing of photographic images;

[b] BETWEEN MATTER AND SPACE: Plasticity and experimentation; Construction and structure of three-dimensional object; Studies of composition in space; types of installation; Contexts and specificities: relationships between space, place, body, and object;

[c] BETWEEN SOUND AND PLACE: Basic elements of sound plasticity; Interaction between sound and image; synaesthesia; Sound and space: specificity relations; Introduction to some tools for sound capturing, editing and manipulation; Sound art: Intersections and borders;

 [d] BETWEEN BODY AND MOVING IMAGE: The moving image in contemporary art: the video; Video, performance and happening (documentation, mediation, reflexivity, real-time, installation); Image and narrative (linear and non-linear / synchronic and asynchronous); Sound and image devices; Introduction to some tools for image capturing, manipulating and recording.

[e] BETWEEN ACTION / SITUATION AND CONTEXT: Artistic practice and public sphere: strategies for contamination of the real; Ephemeral and performative languages; Relations and specificities of the context; Relational and participatory strategies; social contingencies in artistic practices; Documentation and display.

 

Painting

What is aimed at, is to familiarize the student with the structural aspects of painting, both technical and optical. Notwithstanding the studio, hands-on character of the whole learning procedure and apparatus, its development will always be accompanied by a consideration of the historical and stylistic dimension welded to the aforementioned aspects (a dimension whose in-depth study will obviously fall to other classes elsewhere in the curriculum).

The following items are to be understood as nothing more than helping guides to the student groping in the as yet wilderness of the immense territory of the history of painting, from the Paleolithic to our present day. 1) The stuff of painting: paints. 2) Outlines, thoughtfulness, randomness and formlessness. 3) Fluidity and viscosity. 4) Paint ingredients: pigment, binding medium, solvent. 5) Transparency and opacity. 6) Paints and color. 7) Water- and oil-based paints. 8) Aspects of color: hue, brightness and saturation. 9) Subtractive and additive color mixing. 10) Black and white. 11) Color specifics of the painter’s paints, as distinct from (and averse to) systems of color. 12) Brush strokes. 13) Pigments: paint-making. 14) Devices of realist representation. Perspective, shadows and reflections. 15) Basics of composition: perspicuity and all-overness, center and periphery, surface and depth. The uses of geometry. 16) Form as friend or foe: figurative and non-figurative paths.

 

Mandatory literature

Bell Julian; What is painting ?. ISBN: 0-500-28101-7
Bishop Claire 340; Participation. ISBN: 978-0-85488-147-5
LaBelle Brandon; Background noise. ISBN: 0-8264-1845-7
Foster Hal; Art since 1900. ISBN: 0-500-23818-9 69.76
Buskirk Martha; The^contingent object of contemporary art. ISBN: 0-262-52442-2
Campany David 340; Art and photography. ISBN: 0-7148-4286-9
Doherty Claire 340; Contemporary Art. ISBN: 1-904772-06-4
Drucker Johanna; The^century of artists. books. ISBN: 978-1-887123-69-3
Frieling Rudolf 340; The^art of participation. ISBN: 978-0-500-23858-5
Kwon Miwon; One Place After Another. ISBN: 0-262-11265-5 38.61
Rees A. L.; A^history of experimental film and video. ISBN: 0-85170-681-9
Rosenthal Mark; Understanding installation art. ISBN: 3-7913-2984-7
Sichel Berta 340; Primera generación. ISBN: 84-8026-308-3
Warr Tracey 340; The artist.s body. ISBN: 0-7148-3502-1
LICHT, Alan ; Sound Art: Beyond Music, Between Categories, Rizzoli, 2007
Nicolau, Ricardo; Campany, David; Fotografia na Arte: De ferramenta a paradigma, Público; Fundação de Serralves (Colecção de Arte Contemporânea Público Serralves, 2006
Schimmel, Paul; Out of Actions: Between Performance and the Object, 1949-1979, Thames and Hudson, 1998
Goldberg, Roselee; Performance Art: From Futurism to the Present (World of Art), Thames & Hudson, 2001

Complementary Bibliography

Moure Gloria 340; Behind the facts. ISBN: 972-739-126-5
Costa, Luís e Costa, Rui; Three Years in Nodar: context-specific art practices in rural Portugal, Edições Nodar, 2011
Loock, Ulrich; A obra de arte sob fogo, Público; Fundação de Serralves (Colecção de Arte Contemporânea Público Serralves, 2004
Delcroix, Jean-Michel; Site of Sound: Of Architecture and the Ear, Errant Bodies Press, 2011
Loock, Ulrich; AnArquitectura, Público; Fundação de Serralves (Colecção de Arte Contemporânea Público Serralves, 2005
Todoli, Vicente (org.); Circa 1968, Museu de Serralves, 1999
Villel-Borja, Manuel (org.); Um teatro sem teatro, Macba/ Fundação de Arte Moderna e Contemporânea – Colecção Berardo, 2007
CASTRO, E.M. de Melo e; Hatherly, Ana ; PO.EX: Textos teóricos e documentos da poesia experimental portuguesa, Morais Editores, 1981
Goldberg Roselee; Performances. ISBN: 2-87811-168-0
Pearce.s Emma; Artists. materials. ISBN: 0-572-03146-7

Teaching methods and learning activities

Other than stressing a hands-on approach as regards studio activity, audiovisual media, text tools and others will be made use of, as deemed appropriate; on the other hand, visits to exhibitions, participation in conferences and other activities likely to contribute to an enlargement of the pedagogical field will be encouraged.

keywords

Humanities > Arts > Fine arts > Painting
Humanities > Arts > Fine arts > Plastic arts

Evaluation Type

Distributed evaluation without final exam

Assessment Components

Designation	Weight (%)
Participação presencial	100,00
Total:	100,00

Calculation formula of final grade

As regards evaluation factors, the following will be taken into account: attendance to the classes; level of accomplishment, as far as work results are concerned; reasoning and arguing power; compliance with deadlines.