Thank you for coming.
I'm Lisa Perez and I'm from the Department of Visual Art.
And I'm excited to introduce monumental drawing.
Monumental drawing is a class that's
a studio-based immersion.
Drawing is a verb.
One of the things that I'm most interested in is a question.
What does it mean to make a drawing in the 21st century?
I think this quote really kind of anticipates
the active movement of drawing that I'm
most interested in and the action of actually learning how
to draw in the 21st century.
From line to space and mark to movement,
drawing in the 21st century is boundless.
It's expansive.
There really are no bounds to the way you make your marks,
and mark making is limitless.
How would you make a drawing that fills a room?
From the kinesthetic to the conceptual,
drawing is also installation.
It's experiential.
This artist, Monika Gryzmala, for example,
uses tape to create her installations.
The line work is kinetic.
It's physical.
There's a physicality to a lot of contemporary drawing
practice.
In this course you'll discover the possibilities.
You'll find ways to weave your own stories,
your own interests, and experiences through the process
as well.
It's really important to really think
about where your creativity sparks from.
Winter is the perfect time for creative immersion.
As we all know, there's a lot of internal incubation time.
So one of the things that this course will allow you to do
is to really expand your creativity
and delve into drawing in a very, very intensive way,
meaning you'll have your own dedicated studio.
This is the List building.
In the List building, on the fifth floor,
they're the painting studios, and students
will have dedicated individual studios, which
is a really special opportunity to be
able to make work at an expansive level
in your own space.
You'll have ample time also.
So thinking about having your own space,
you'll have plenty of time in terms of the immersive quality
of the course structure.
And we will have visiting artists.
So one of the things that you really want to think about
is looking at other artist's work
or working in fields you're interested in.
And Ruby Onyinyechi Amanze does large scale drawing,
so she'll be giving a presentation.
She'll visit and she'll also visit
with students in their studios to talk
about works in progress, which is a really great opportunity
to get feedback on what you're doing
from an artist in the field.
And also, looking is critical.
So we're going to have a New York City research
trip, where you'll get to see art in real time.
So going to the Whitney Museum, going to The Drawing Center
and other art centers will give you
that kind of immersive experience on site in New York
as well, which gives a little added
bonus in terms of thinking about that immersion.
So it's going to be a really exciting trip and a really
fun way to expand the course.
In monumental drawing, you're really
going to gain a deeper understanding
of the sort of immediacy, the power, and the relevance
of a contemporary drawing practice by being in the studio
with ample time, lots of research projects.
In class studio time, we do projects
that prompt the week's work.
There's two studio days and then one critique day.
This gives you a sense of how the class is structured.
And the studio critique day falls on a Sunday
and it's after a week's worth of work in your own studio.
So there's a lot of discussion on that day.
And the other days, we do prompting exercises
that get you thinking about how to make contemporary drawing
and how to really have an immersive studio
practice for the period of time of the winter session.