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«ACADEMY OF FINE ARTS - STÄDELSCHULE FRANKFURT AM MAIN Lectures, seminars, courses, summer semester 2015 1. General information Studies at the ...»

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Lectures, seminars, courses, summer semester 2015

1. General information

Studies at the Städelschule emphasize the artistic work done within the framework of professors’ classes.

These are accompanied by lectures, courses and seminars.

The events of the summer semester 2015 begin on 13 April, 2015 and end on 17 July, 2015.

The first and last meeting of each course is noted in the course information. The first meeting of each course is an introduction, after which students can register for the full course.

After successfully completing a course, students receive confirmation of attendance from the professor, lecturer or instructor. Regular attendance is mandatory to receive this confirmation.

The academy’s board defined the following requirements for the study of fine arts:

Art history/art theory/philosophy • Participation in lectures and seminars is required of all students. Each student must complete 1 credit per semester for the first six semesters. Of these 6 credits, at least 2 must be in art history/art theory. The other 4 credits are electives.

Technique • Students must complete 1 technical credit per semester for the first six semesters. Technique courses include: painting technique, color seminars, printing courses, computer courses, figure drawing, drawing, photography, CAD courses, cooking courses and seminars, sound studio workshops.

After successful completion of the course, students will receive a course credit certificate to bring to the registrar’s office. Attendance of any further courses is optional.

It is possible to be exempted from the attendance requirements of the courses in art history, philosophy, etc. as well as technical courses. Students requesting an exemption must bring to the registrar’s office documentation of successful completion of equivalent classes at another institution. A retroactive exemption is not possible.

Intermediate exam • An intermediate exam is required between the second and fourth semester, during which students will show their artistic work. During this time the exam can be repeated if necessary. Students wishing to take the intermediate exam after the fourth semester will only be allowed to take it once. The intermediate exam is used to decide about a student’s further studies at the Städelschule.

2. Course schedule

2.1 Figure drawing Wednesday, 15 April 2015 through 15 July 2015 (Aula) weekly, 10:30 am – 1:30 pm Instructor Nino Pezzella

2.2. Silkscreen / textile printing Monday, 20 April 2015 through Friday, 24 April 2015 (Print shop) daily 9:30 am – 3:30 pm Instructor Peyman Rahimi and Silke Wagner Students will learn basic silkscreen techniques. At the end of the week students will design and create t-shirts with textile printing.

Please register in the registrar’s office starting on 13 April 2015. Participation is limited to 6 students.

2.3 Woodcarving Monday, 04 May 2015 through Thursday, 07 May 2015 (Print shop) daily 09:30 am – 2:30 pm Instructor Anja Cooymans Students will learn the basic techniques of woodcarving. The course will emphasize students’ own work.

There are no prerequisite classes or experience.

Please register in the registrar’s office starting on 27 April 2015. Participation is limited to 6 students.

2.4 Digital Halftone Intaglio-Type Monday, 18 May 2015 through Thursday, 21 May 2015 (Print shop) daily 9:30 am – 2:30 pm Instructor Anja Cooymans Students will create a computer-based image and then transfer it to light sensitive, prepared copper plates for development. This can then be printed as intaglio. Experience with Photoshop is mandatory for participation in this class; knowledge in intaglio printing is required.

Please register in the registrar’s office starting on 11 May 2015. Participation is limited to 5 students.

2.5 Lithograph printing, chalk, ink and direct to plate Monday, 08 June 2015 through Friday, 12 June 2015 (Print shop) daily 9:30 am – 3:30 pm Instructors Peyman Rahimi and Silke Wagner Please register in the registrar’s office starting on 01 June 2015. Participation is limited to 5 students.

2.6 Sound studio techniques

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Basics of recording and editing sound, field recordings, synthesizer, sampling and the use of audio software.

Please register in the registrar’s office starting on 08 June 2015 for Course 1 and starting on 29 June 2015 for Course 2. Participation is limited to 6 students.

3. Computer Courses

3.1 Photoshop course

–  –  –

Instructor Silke Wagner and Jacqueline Jurt Students will learn to make a printing plate with photosensitive material.

Photoshop knowledge is required.

Please register in the registrar’s office starting on 15 June 2015. Participation is limited to 5 students.

3.2. Final Cut course (video editing) Monday, 25 May 2015 through Friday, 29 May 2015, in the computer room daily 9 am – 12:30 pm Instructor Harald Pridgar With Final Cut you can digitally edit video and audio material. This course is for students who have already taken a Photoshop course. The number of participants is limited.

Please register in the registrar’s office, starting on 18 May 2015.

3.3. Adobe Illustrator/Adobe InDesign course (graphics/layout) Monday, 15 June 2015 through Friday, 19 June 2015, in the computer room daily 9 am – 12:30 pm Instructor Harald Pridgar The Adobe Illustrator/Adobe InDesign course introduces students to the software’s functions with a focus on graphics, illustrations and layouts.

Please register in the registrar’s office starting on 08 June 2015.

3.4 Internet/computer applications – Thomas Wizent Technical support for computer applications is available for students of advanced studies. For an appointment call 0176-11605080.

3.5 Photo lab – Kerstin Cmelka / Milena Büsch Course 1: Film and Camera Film exposure and processing Exposing, enlarging and printing of b/w negatives Course 2: Color photography Developing (C41) and processing of color negatives (color paper processor Ra4) Course 3: Repro and studio photography (Canon Mark II and III, Mamyia 6 x 7, small and medium format, studio flashlights, copy stand) This course is obligatory for beginners, who want to rent out equipment.

Course 4: Camera obscura/pinhole camera and photogram Course 1: Film and Camera April 24 through April 26 2015 Once a month: open tutorials Language: English, German Time and dates are still to be announced and will be posted on the pin board.

4. Art history and art theory – Dr. Isabelle Graw

4.1 Seminar: Institutional Critique in the digital age  Introduction to both seminars by Isabelle Graw April 14 at 4pm (right after Ratssitzung) The origin of the term Institutional Critique remains unclear. It first appeared in Mel Ramsden's text ‘On Practice’ in 1975 and later got mentioned in a text by Andrea Fraser on Louise Lawler (1985). Since it appeared in the headline of Benjamin Buchloh's seminal text ‘From the Aesthetic of Administration to Institutional Critique’ it became somewhat institutionalized. It has functioned as a key concept of contemporary art and loosely refers to those artistic procedures, which insist on intervening into their institutional surrounding in a way that is considered to be critical of it. There are three assumptions implied in institutional critique and these assumptions will direct our investigation: 1.) That institutions and critique point to one another and are thus interrelated, 2.) that institutions are physical entities or ‘social facts’ (Luc Boltanski) that tend to get naturalized and 3) that these institutions can (or must) be criticized. While there have been many attempts to revise and expand these assumptions since the 1990s, there have been few efforts to update institutional critique in view of our digital condition. What does it mean for institutional critique if institutions take the form of social networks and social media? And can the value of critique still be presupposed once critique has become a value in itself? It is the goal of this seminar to find answers to these questions.


Monday, April 20 2015 (in Berlin with Benjamin Buchloch) Tuesday, June 16 2015 through June 18 2015 (June 16 2015 lecture by Sabeth Buchmann)

Suggested Literature:

-Luc Boltanski: Die Macht der Institutionen, in: Ders: Soziologie und Sozialkritik, Berlin 2010, S. 82-129.

-Isabelle Graw: Institution/Kritik in: Jörn Schafaff, Nina Schallenberg und Tobias Vogt (Hrg.): KunstBegriffe der Gegenwart. Von Allegorie bis Zip, S. 101-108.

-Benjamin H.D. Buchloh: From the Aesthetic of Administration to Institutional Critique, in: L’art Conceptuel, Une Perspective, Paris 1989/1990.

-Andrea Fraser: From the Critique of Institutions to an Institution of Critique (2005), in: Alberro/Stimson:

Institutional Critique. An Anthology of Artist's Writings, S. 408-417

-Isabelle Graw: Jenseits der Institutionskritik. Ein Vortrag im Los Angeles County Museum of Art, in: Texte zur Kunst, September 2005, Heft 59, S. 53.

-Andrea Fraser: Was ist Institutionskritik? In: Texte zur Kunst, September 2005, S. 87-89

-Alexander Alberro: Institutions, Critique and Institutional Critique, in: Institutional Critique. An Anthology of Artists’ Writings, edited by Alexander Alberro and Blake Stimson, MIT 2009, S. 2-19

Additional literature:

Lectures by Isabelle Graw: On Conceptual Expression and Traces of Expression in Proto-Conceptual Works, on ‘The Difficult JK’ and on ‘The Gallerist’s Hat’ In Cooperation with: Benjamin Buchloh and Sabeth Buchmann

4.2 Seminar: The Economy of Painting in 15th Century Italy During this seminar we will read Michael Baxandall's seminal study on 15th Century Painting in Italy with mainly one question in mind: Why and in what way could this study be topical today, what can we learn from it in view of the current debates on painting? Baxandall assumes that painting not only reacts to social experiences, visual skills and habits but also allows for their better understanding. Paintings for Baxandall shed light upon the ‘cognitive style’ of their time and we need to know what kind of knowledge is assumed in them. They are also bound to manifold economic constraints, which reach into them as well. By studying contracts, religious texts, or painting-treatises Baxandall tries to understand what is at stake in each painting.

When relating paintings to all these documents he not only aims at understanding something about them, but also wants to understand something about their society.What would it mean to update his approach? What kind of knowledge can artists assume today and what are the external constraints predetermining their practice? Can we think of a contemporary painting that tells us something about our society that we do not already know?


Tuesday, 19 May 2015 through Thursday, 21 May 2015 (19 May in Hamburg with Jutta Koether) Tuesday, 30 June 2015 through Thursday, 02 July 2015 1st of July (lecture by Alessandro Nova) Language: German/English

Suggested Literature:

-Michael Baxandall: Painting and Experience in 15th Century Italy. A Primer in the Social History of Pictorial Style, 1972 Oxford University Press

Additional literature:

-Giorgio Vasari: The Lives of the Artists (2008). A new translation by Julia Conaway Bondanella and Peter Bondanella

-Oskar Bätschmann und Sandra Gianfreda: Leon Battista Alberti: Della Pittura – Über die Malkunst, Darmstadt 2002 In Cooperation with: Allesandro Nova, Jutta Koether and Amy Sillman

4.3 Workshop: How to speak and write about my work This is a workshop on demand. It aims at generating a language or texts, which would do justice to the artistic practice of the one presenting her or his work.

Dates: to be confirmed

5. Art History- Philippe Pirotte Seminar: "The Madhouse: Goya’s interest in deviant culture" 5.1.

Although it was a subject that preoccupied eighteenth century society at large, lunacy and the line between reason and madness became an area of particular fascination for Spanish painter Francisco de Goya, following his own illness which took its own toll upon his psychological state. He investigated the theme extensively in both public and private works artistically recording evolving definitions of madness that preoccupied the eighteenth-century. Questions arose regarding the origin and nature of madness, what to do with those that society deemed insane, and how to philosophically differentiate delusion from reason and imagination. Goya’s interest in themes of madness, imagination, and reason is apparent in his work, and he joins the select group of those who complete the Enlightenment by disclosing its reverse: Blake, Hogarth, Sade, and a very few others. Georges Bataille linked the Spanish artist with the Marquis de Sade, suggesting that they share an ‘irrational supplement’ challenging classical representation. Both Goya and Sade embrace the modernity of the Enlightenment but at the same time use or refer to rationalism to the point of absurdity.

Goya's work from the 1790s on - a period that coincides with the chaos and near-overthrow of civil society in Spain is irrational and enlightened, expendable and hilarious, and embarks on a fascinating adventure into the reversal of all values, a “carnivalesque détournement” of all imposed regimes of signification and truth.


Horkheimer and Adorno, Dialektik der Aufklärung Roland Barthes, Sade, Fourier, Loyola, the chapter on Sade Georges Bataille, La literature et le mal, the chapters on William Blake and Marquis de Sade Michel Foucault, Folie et déraison. Histoire de la folie à l'âge classique Michel Foucault, Surveiller et Punir S. L. Gilman, Seeing the Insane, New York, 1982 Jane Kromm, The Art of Frenzy Victor Stoichita and Anna Maria Coderch, Goya. The Last Carnival, London, Reaktion Books, 1999 Goya and the Spirit of Enlightenment. Exh. Cat. edited by Alfonso E. Pérez Sánchez and Eleanor A. Sayre.

Boston: Museum of Fine Arts, 1989.



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