WEDNESDAY: History & Theory of Drawing, Part II - Amanda Nedham (Online)
WEDNESDAY: History & Theory of Drawing, Part II - Amanda Nedham (Online)
Course Day: Wednesday
Time: 7:00-9:00pm (EST), Length: 2 hrs.
6 Weeks of Classes: May 25, June 1, June 8, June 15, June 22, June 29
Full Course Info Below
Wednesday (Online Course)
Course Information
Course Day: Wednesday
Time: 7:00-9:00pm EST - Length: 2 Hours
6 Weeks of Classes: May 25, June 1, June 8, June 15, June 22, June 29
History & Theory of Drawing, Part II
This course is open to all students. History & Theory of Drawing Part 1 is not necessary to take this course.
Drawing Theory II will shift the conversation about drawing through employing a radical empiricism that in its denial of specialization serves the greater project of illuminating our richly conscious reality. This nuanced form is the closest thing that we have to time travel as it manifests directly from another’s consciousness to viscerally meet our own by way of a phantom hand. This is especially true of graffiti and glyphs that indelibly mark human structures and natural landscapes. We will begin with images on walls–caves, cliffs, prisons–and expand to trace the history of drawings of the impossible–automatic drawings by mediums and visual testaments by those who have experienced otherworldly events.
At every turn we will look at contemporary artists across the world whose work shares the same searching quality as drawings outside of a fine art context; artists who blur the line between operations and aesthetics, including: Mary Reid Kelley, William Kentridge, Imran Quereshi, Regina Silveira, Paul Chan, Jumaldi Alfi, and Shabnam K. Ghazi.
Artists in this course will:
Focus on drawing as distinct from other mediums
Reinforce the uniqueness of drawing by building bridges between drawings within and without a fine art context
Look at contemporary artists who use strategies of drawings in the wild to transcend the boundaries of the picture plane and ethics of a market-centered art world
Study Mary Reid Kelley, William Kentridge, Amy Sillman, Kara Walker, Imran Quereshi, Bill Traylor, Beatriz González (and others) alongside the anonymous artists lost to history who were directly responding to the urgency of their conditions and acting in dynamic response to their environments
Provide texts that broaden and emphasis the uniqueness of drawing on a vast continuum
Guest Speakers
Ed Pien
Kris Rac
Financial Aid
For those in financial need, we have 3 options:
Payment Plan
The payment plan splits your tuition into two payments. Use code: PAYMENTPLAN at checkout to submit your first tuition payment. The week of May 30th, you will receive a payment page for the remainder of your tuition.
Final course payments are due June 6th.
BIPOC Scholarships
BIPOC Scholarships offer a 50% discount off course tuition and are reserved for Black, Indigenous, and People of Color artists. Use code: BIPOC50PP to receive 50% off course tuition and pay in two payments. The first payment is paid at checkout and second payment due June 6th
Financial Aid / Extenuating Circumstances
This option is for those who are in need. We realize financial hardships vary and we want to be sure that anyone - no matter the circumstances - can be a part of our community.
For artists seeking financial aid, we offer a 20% discount on courses.
To apply this discount, use code FA20PP at checkout and split your discounted tuition into two payments.
To complete your financial aid request and application, it is required to email diana.critclub@gmail.com with your specific financial circumstances and your tax return included as an attachment. If your request is not approved, we will reach out to you.
If you require more than the 20% discount, please email diana.critclub@gmail.com explaining your situation and attach your tax return. We will reach out and work with you on a discount that will allow you to take a course with NYC Crit Club.
