ART 2130 Mural Painting and Public Art 4 credits (60 hours) Professor: Esteban Camacho Steffensen International Muralist BFA Pacific Northwest College of Art MFA Universidad de Costa Rica

COURSE DESCRIPTION This studio art course introduces theoretical and practical aspects of large-scale painting, murals and public art. The course includes an actual practicum in large-scale media and experimentation of early and contemporary techniques including drawing, fresco, painting, aerosol and various industrial materials. The objective of this course is for students to develop understanding about some of the social roles of art and the impact of murals in communities, based upon its historical and contemporary applications. The course will enable student to control scale, color, specific techniques and safety measures aimed at public spaces. Students will incorporate a Service Learning component by either conducting a collective workshop with children from a rural location or actually painting a collective mural as a donation to a community. The Students fine arts background will help with the complexity of the final collective project but the course does not require previous painting knowledge.

LEARNING OUTCOMES At the end of this course student should be able to demonstrate proficiency in the following: Demonstrate basic understanding of historical and contemporary techniques, terms and issues and implementation of public art. Develop a finance and process strategy to conduct public art in a foreign or local community. Explore a personal driving force and apply that stimulus visually to the public realm. Find the balance between personal, group and the community vision. Be able to listen and then collaborate with individuals and communities to meet their artistic goals.

METHODOLOGY Create an environment that will help students in the process of turning their twodimensional and three-dimensional works of art and ideas into public art, murals, etc. Classes will have a dynamic participation of students in class discussions and various inout class art exercises. Theory will be presented through slides, films and assigned readings. There will be an urban public art field trip, a natural ecosystem tour and an off campus work session. Assignments for this course: There are two projects that student will present to the class. A group critique will follow each presentation. Artwork and written proposal should be presented in a professional manner for critique. All elements of the proposals will be reviewed and practices during class time. 1. Artist Proposal 10% Students will create a hypothetical public art project. The assignment will be divided in levels to develop the final presentation. Concept: Your individual idea, visualization and public intent. Sketches Revised Drawing Color Alternatives Photomontage Outline Drawing with Grid Final Scale Painting and Artist Statement*

2. Group Project 20% Based on the previous project students will collaborate as one or a few groups and create a competitive scenario designing different proposals for the hands on Community Project. The class will create the designs, which will be presented to a civic building in Costa Rica. The designs may be used on various walls or the best work will be selected and the entire class will help in the production. Each Student will create a Sketch. Groups will develop the design, Color Alternatives and Outlines Drawing with Grid. Visiting the wall-building site: Set up the timeline, meetings, permits budgets, sponsorship, angular and transit study, photography of context photomontage & final designs. 3. Student will have to complete studio work projects demonstrated in class as homework 15%

The are also multiple reading assignments:

1. *Artist Statement: 10% Portray yourself as an artist working in the public sphere and describe your personal point of view. Describe your intensions 2. Research Paper: 25% This is an opportunity to select an artist or topic relevant in public art and explore the issue in depth. It is important to select a narrow enough topic to allow for focus and analysis within 4-6-page limitation. Include a bibliography using MLA Citation. 3. You will be required to read and engage in all reading discussions. Student will lead one reading discussion. 10% 4. CD Documentation turned in as a portfolio. 10% All work including the process should be documented

MATERIALS 18’ x 24 drawing pad 4B, 2B Pencil Foam board Tissue paper Spray mount Clear tape Heavy-duty x-acto knife House painting brush and small painting brushes Mixing containers for paint Apron or painting clothes Project should be colored with your choice of media, such as watercolor, acrylics and/or pastels (spray fixed)

COURSE OUTLINE

SESSION OBJECTIVE / CONCEPT Week 1 Introduction Session 1 Review syllabus What gives life to artwork?

HOMEWORK

Week 1 Session 2

Proposal Demo: Mock ups / Photomontage

Reading: El Mural, Eduardo Torijano Begin: Project 1

Week 2 Session 3 Week 2 Session 4

Work Progress Administration (WPA) Outlines, Mural recepy Mexican Muralist Movement SCALE Reading Discussion Film: Siqueiros: Artist and Warrior Demo: Projectors

Reading: Whose Monument, Judith Baca Reading: Art In the Age of Mechanical Reproduction Bring printed reference images

Week 3 Session 5

Brainstorm public art ideas and bring a graphite and a color sketch on 11x17 paper

Create a grid 3 x 1 scale

Week 3 Session 6

Demo: trompe’loeil and models

Week 4 Session 7

Artist Proposal Presentations

Begin Group Project

Week 4 Session8

Artist Proposal Presentations

GP Sketches

Week 5 Session 9

Graffiti / aerosol Reading Discussion Demo: Stencils, Guerrilla art Painting with Local Communities

GP Drawings

Week 5 Session 10 Week 6 Session 11 Week 6

GP Color Alternatives & Outlines Grids Reading: Hayden Urban History

Lascaux & Primitive mural art

Demo: Fresco and Pigments

Begin Research Paper

Session 12 Week 7 Session 13 Week 7 Session 14 Week 8 Session 15 Week 8 Session 16 Week 9 Session 17 Week 9 Session 18 Week 10 Session 19 Week 10 Session 20 Week 11 Session 21 Week 11 Session 22 Week 12 Session 23 Week 12 Session 24

Renaissance PERSPECTIVE Film: The Agony and the Ecstasy Contemporary Public Artists & Modern Art

Reading: Sonfist:public art

Contemporary Public Artists & Modern Art Demo: air brushes and compressors Street Art Performance painting Reading: Beyond Graffiti

Social, Political and Economic Factors: Guest Speaker Due: Research Paper Draft

Field Trip: National park: Environmental Factors Mural Production

Mural Production

Due: Research Paper

Final Critique

Turn in CD Portfolios

Bibliography Anzaldúa, Gloria. La conciencia de la mestiza: Towards a New Conciousness. 377-378 Baca, Judith. S. Bulington, VT: Annenberg/CPB Projects, 1996. Film Boime, Albert. The Magisterial Gaze. Washington: Smithsonian Institution Press, 1991. Finkelpearl, Tom. Dialogues in Public Art. Cambridge, Massachusetts: MIT-Press, 2000. Folgarait, Leonard. Mural painting and the social Revolution in Mexico, 1920-1940. USA: Cambrige University Press, 1998. Gorky, Arshile. Murals Without Walls: Arshile Gorky’s Aviation Murals Rediscovered. Newwark, NJ: Newark Museum, 1978. Print. Gold, Carole. Judy Baca’s Legacy. Public Art Rev 17 no 1 Fall/Wint 2005 Hehingway, Andrew. Artists on the Left. London: Yale University Press, 2002. Hurlburt, Laurance P. The Mexican Muralists in the United States. Albuquerque: University of New Mexico Press, 1989. Iosifidis, Kiriakos. Mural Art: Murals on huge public surfaces around the world from Graffiti to Trompe l’oeil. China: Publikat Verlags-und Handels GmbH & Co. 2008 Lacey, Marc. “Cultural Riches Turn to Rubble in Haiti Quake.” The New York Times January 24, 2010 International/Americas. Web. 8 Feb 2010. Lohman, Jonathan "The walls speak: Murals and memory in urban Philadelphia.” University of Pennsylvania: ProQuest. 202. Pag. Web. 1 Jan 2010.

Ludwig, Coy. Maxfield Parrish. New York: Watson-Gultill Publications, 1973. Macmurray, Eloise. The Washington Park Fences Project. Portland, Oregon: Tri-Met and the Regional Arts and Culture Council, 1995. Marling, Karal Ann. Wall-to-Wall America. USA: University of Minnesota, 1982.

Matilsky, Barbara. Fragile Ecologies: Contemporary Artists Interpretations and Solutions. New York: Rizzoli International Publications Inc, 1992. McKay, Marylin J. A National Soul Canadian Mural Painting 1860s-1930s. Montreal: McGills-Queen’s University Press, 2002. Norwood, Susan. Diego Rivera and his murals. Yale-New Heaven Teachers Institute. 2005. 11/14/05. www.yale.edu/ynntil/. O’Brian, John and Peter White. Beyond Wilderness. Montreal: McGill-Queen’s University Press, 2007. Rolston, Bill. Politics and Painting. USA: Fairleigh Dickinson University Press, 1984. Staikkidis, K. “Learning Outside the Box: How Mayan Pedagogy Informs a Community University partnership.” Art Education Reston Vol 62 Issue 1: 20-24. Web. 2009. Staikkidis, K. “Learning Outside the Box: How Mayan Pedagogy Informs a Community University partnership.” Art Education Reston Vol 62 Issue 1 pages 20-24, 2009. Tajonar, Hector. Siqueiros: Artist and Warrior. Mexico: Arte Multimedia S.A., 1998. Film.

Yaeger, Bert. The Hudson River School: American Landscape Artists. New York: Smithmark Publishers, 1996. Videos: http://www.woostercollective.com/2011/01/el_mac_shows_us_how_its_done_in_singapo r.html http://www.vimeo.com/11175747