Discipline: Studio Art
Instructor: McLeod
Credits: 3
Day: B
Start: 0925
End: 1040
Field Work: Day 1 - Saturday, 19 September | Italy Download Syllabus

This course explores mixed-media collage as an art form. The activity of creating collage includes appropriation, assemblage, drawing, painting, and craftsmanship. Development of critical artistic vision is essential in producing quality mixed-media collage. In assembling and producing collage, the artist must include/exclude, mute/amplify, balance/imbalance, configure/reconfiguration and imaginatively enhance the various visual components. Drawing and painting are equally important in the construction of a visual collage statement, and that visual statement must be firmly based on a concise conceptual underpinning or notion. Students will collect in their Sketchbook Journal a myriad of visual data including sketches, drawings, painting sketches, photos, and cultural information from the ports-of-call. These fragments of visual information will be crafted together with drawing and painting to produce collages descriptive of and sensitive to the various places and cultures of the voyage.

Field Work

Country: Italy
Day: 1 - Saturday, 19 September

This field lab will be a day of visual exploration and contemplation of the human figure in art.  Students will observe and draw expressive figures from the historical paintings and sculptures in the collection including Bernini, Caravaggio, Raphael, Correggio, Titian, Dossi, etc. at the Galleria Borghese.  Using both photography and on-the-move sketching, students will document figures in the landscape of the gardens of the Villa Borghese.  On location at the Spanish Steps, students will observe and draw live, contemporary people – Romans, tourists, and perhaps each other – expressing emotions and making visual statements in their drawings. The visual research completed during this field lab will be incorporated into a finished collage in classes on ship. Academic objectives:

  1. Drawing from historical sculpture (Bernini, etc) and an historical painting (Caravaggio, etc.) to perceive, understand, and capture expressive forces of figures in art.
  2. Photographing  or on-the-move sketching of emotionally passive figures or a figurative sculpture in the landscape.
  3. Sketching contemporary figures in the city from direct observation at the Spanish Steps to observe and convey a variety of emotional sensibilities.