cindy rehm teaching: Drawing II

Drawing II - Ink + Stick

Intimate still-life Assignment:

Magnify a small still-life using sharpened stick and ink on 18” x 24” drawing paper.

Objectives:

Creation of a dynamic composition trough cropping
Experimentation with mark making and texture
Demonstration of a full value range
Utilization of a non-traditional drawing tool

Drawing II - Pocket Drawing

Pocket Drawing

Make a drawing over the first six weeks of the semester. Use an 8.5” x 11” sheet of paper and focus on an accumulation of marks developed over a period of time. Plan to draw on your paper regularly and experiment with color and use of media.

Objectives:

Explore informal mark making and invention
Experiment with media and color
Utilize the process of accumulation to develop a drawing

Drawing II - Manipulated Self-Portrait

Manipulated Self-Portrait Assignment:

Physically alter the surface of your face using an object or substance. Create a 18” x 24” drawing in charcoal using additive and reductive methods.

Objectives:

Demonstration of accurate proportion and placement
Utilization of a full-tonal range
Exploration of symbolic content

Drawing II - Collaboration Project

Collaboration Drawing Assignment:

I. In your sketchbook, research two artists from the contemporary artist list each week. Include two images by each artist and write a response to the works that addresses process, media, and content.

II. Choose and artist from the contemporary artist list and collaborate with that artist to create a drawing. The drawing should be an equal collaboration between your creative ideas and those of your chosen artist.

Objectives:

Introduction of research practices
Expansion of knowledge on contemporary art practices
Utilization of collaborative methods
Experimentation with media, process, and content

collaboration with William Anastasi

collaboration with Erwin Wurm

collaboration with Sol LeWitt

collaboration with Anne Wilson

collaboration with Marcel Dzama

collaboration with Janine Antoni

Drawing II - Invented Interior

Invented Interior Assignment:

I. Using pencil, develop studies of interior space and architectural detail. Make four each
5” x 5”, 4” x 4” and 2” x 2” drawings and include a variety of views points.

II. Cut out the small drawings and experiment with connection and flow between the fragments. Aim to use 3-5 pieces and glue together when the most interesting composition is achieved.

III. Translate your small collage using charcoal onto a 36” x 48” paper.

Objectives:

Translation from small scale to large scale
Investigation of invented space though the use of linear and atmospheric perspective
Creation of movement and flow through compositional placement
Demonstration of a full value range
Establish comfort working at a large scale

Drawing II - Final Project

Final Project

I. Write a proposal for a series of drawings which indicates your choice of scale, subject-matter, and media.

II. Execute the final series and aim to establish competency and consistency throughout the series.

Objectives:

Ability to develop and sustain an idea through several works
Demonstrate knowledge of composition, use of full value range, and mark making
Take ownership for content and direction of the project

Teaching Philosophy

I am for an art which breathes, which shows the beauty of the hand and heart of the artist. As a teacher, it is my priority to help my students develop their own creative voices and art practices. This requires a foundation of technical proficiency, the refinement of a visual language, and the development of critical abilities. I encourage my students to explore process and content and to openly experiment with materials and methods in the development of a body of work. I aim to instill a sense of personal responsibility in my students in both the creation of art and in the pursuit of learning. I want my students to think, make and grow in relation to the world around them and to realize that an artist’s education is a life-long process.

Art making can be exhilarating, perplexing, exhausting, and potentially transformative. It is a complex and fragile process, which is always in a state of flux. For this reason, it is important that I support my students as I challenge them to take risks and push beyond their comfort zones. As a teacher, I must look, listen and engage my critical instincts in order to respond to the individual student and his or her respective work. Some students require more discipline, while others may need new stimuli or conceptual clarity; I approach each student as an individual with distinct needs.

Teaching is a collaborative process, and I foster a learning environment built upon mutual respect and trust. Students should be comfortable engaging in honest dialogues as they challenge ideas and develop their own aesthetic and critical voices. I hope to provoke spontaneous and meaningful conversations that flow between theory and practice, content and form, and personal and political perspectives. The open sharing of ideas is vital to the development of a healthy classroom community and will provide the young artist with a stable support system where they can mature and thrive.

Like my art practice, my teaching is predicated upon an interdisciplinary approach infused with historical, psychological, theoretical, and aesthetic perspectives. I am always growing and changing in response to my own creative research and my experiences as a teacher. I openly share my struggles and successes with my students as a testament to our mutual condition; we are all artists on a precarious journey through the world. I cannot define a path for my students, but I am forever beside them offering my support and insight.

cindy rehm teaching