PART TWO OF THE FOUR-YEAR ARTS PROGRAMME CONSISTS OF STUDIO-BASED PROGRAMMES
The studio-based programmes are an opportunity for students to immerse themselves in their own practice, but also to meet the challenge of different approaches to art, media, and materials. Students will work independently and test their own expression and principles through dialogue with experienced tutors attached to one of the studios.
Students will have access to their own studio space.
Find out more about each of the studio-based programmes and teaching methods:
Department G – BY ANNETTE OLESEN, VISUAL ARTIST
At Painting G, we aim to create a studio environment with an open framework and an up-to-date, relevant platform for working with visual art. Students will be given an unbiased opportunity to work independently regardless of artistic category.
The teaching is centred on painting. Insight and understanding of the language of visual art will emerge from dialogues on the work practice of each student.
Although the overall framework is an open one, students are expected to adopt a communal approach necessary to ensure a positive work environment. A significant aspect of my philosophy is that the learning process is enhanced by an active interpersonal atmosphere. Students are expected, therefore, to be actively involved in the school as well as the technical discussions.
A variety of materials and media are used to give each student an opportunity to evolve their unique artistic expression. Emphasis will be on acquiring an understanding of colour and composition and on gaining insight into the tradition of painting. Students will use drawing, photography, and video besides working with Indian ink, spray paint, oils, and acrylic paint. Moreover, Painting G attempts to include opportunities for artistic work other than painting. Students will visit art exhibitions, discuss works, and talk about art.
Today the practice of visual art is extremely varied and much use is therefore made of visiting tutors and introductory talks preceding gallery and museum visits. Further, students will gain an understanding of international and national art as well as contemporary trends. There will be assignments and themes and a joint project in connection with the exhibition of student works.
DEPARTMENT D – BY SVEND-ALLAN SØRENSEN, VISUAL ARTIST
The image is the common frame of reference in Department D. This framework defines the content, but it is also a boundary that must be burst open. As a visual artist, one has to look at what is next to the picture in order to properly see the picture – be it a song, a painted sculpture, a plastic bag from the local supermarket, a video, etc. This we will do, and we will also maintain a constant dialogue about the picture itself and – most importantly – the students’ own works. There will be frequent joint appraisals and gallery and museum visits.
In the course of the three years in this Department, students will acquaint themselves with contemporary aspects of art history. This and students’ own works will define the core programme.
The course aims to bolster students’ attitudes to their own art as well as to the art of others and to find the courage to present their work to the world.
Interdisciplinary dialogue precedes positive artistic development. The course will, therefore, largely be based on reflection and dialogue, but there will also, of course, be opportunities for immersion and personal experiments. Experiment and the courage to progress both personally and artistically are a prerequisite for a successful course. If one can pluck up courage and face the world outside head-on, something is bound to come of it. Exactly what that ‘something’ might be will be clear the moment it happens.
Department D is one of five studios that together form part of the three-year studio-based programme at the Aarhus Academy of Fine Arts. The department applies an open collaborative arrangement with other studio-based programmes and students will, in reality, be affiliated to several tutors.
CERAMICS – BY VINNI FREDERIKSEN & LISE SEIER PETERSEN, CERAMICISTS
During this programme, the various types of clay and a broad view of artistic modes of expression are introduced. Through these processes and disciplines, individual students are given the best possible opportunity to identify and develop their own ceramic expression. We alternate between free and set assignments and between individual and joint projects. Talks on art history, field trips, and possibly a study trip are part of the programme. Each semester finishes with an exhibition of own projects.
We engage established artists as guest lecturers, arrange dialogues with professionals outside the Academy and set up interdisciplinary workshops to give students a good window of opportunity to sample an active life as an artist/craftsperson after completing their education.
The ceramics department provides plenty of opportunity for students to work independently and to focus on personal expression. This is supported by, for example, individual tutorials, reviews and critical appraisals of pupils’ own projects. Tutorials take their point of departure in the practice of individual students and include subjects such as mode of expression, art in public spaces/embellishment, sketching, composing individual glazes, and firing methods.
BY PERNILLE ANDERSEN AND BO MØLGAARD, PRINTMAKERS AND VISUAL ARTISTS
The area of printmaking covers a broad field. The students will gain knowledge of classical techniques as etching, woodcut and dry point as well as more modern types of methods as digital editing and printing. Relevant theory and art history is introduced in order to equip the students with an understanding of the history and tradition concerning printmaking skills and craft. This understanding is furthermore utilised in giving the students awareness and insight in how they can use the different methods accordingly, in order to define and develop their own practise.
In the printmaking programme, we are, among others, working with intaglio and relief. In intaglio the techniques drypoint (stegætstning og fladeætsning) are taught and in relief printing you will be introduced to wood and linocut and monotyping. You will also be introduced to photographic techniques and experimental approaches where we use found ready-mades like rubbish and cardboard as printing media to explore printmaking’s relation to tradition as well as contemporary context within the art making today.
An important aspect of the program is that the workshop facilities is functioning by all student working as group and engaging in taking responsibility for the running of it. You will furthermore receive tutorials based on your individual needs. Assignments within the particular technics will be presented in combination with more wide-ranging and challenging assignments that serve to develop your artistic expression and area of interest.
SCULPTURE – BY LENE DESMENTIK, VISUAL ARTIST
The teaching of sculpture at the Aarhus Academy of Fine Arts, Department of Sculpture, is driven by the individual practice of students and based on trying to clarify it, or to even identify it – since, naturally, students can only, and should only, create their art.
This is harder than it sounds. Individual focus should not be taken to mean that everything is subjective or equally good. The teaching consists of work analyses, taking bearings from especially recent art history, visits to exhibitions, etc. – and practical artistic work!
As for the latter, no specific methods or materials are given priority – only those which (as far as is practicable) move individual projects in the right direction.
From time to time, there will be a thematic programme, but no assignments except for the fundamental one: how do you make art?