Scripts can be used for videos, performances, for reading a painting, making a drawing or acting within an installation. This studio class will be focused on the role that scripts can play in creating artworks as well as how artworks themselves can operate as a script. Students working in all genres are welcome to participate and develop artworks motivated by the idea of a script. With a particular focus on identity, history and power, scripts in textual, visual, audible and other iterations will be considered through the study of contemporary and historical artworks.

As new technologies and new social configurations erode long-established hierarchies, artists increasingly navigate a space between traditional categories of high and low culture, public broadcast and private vision, fine and popular art. But how do we define these distinctions and their residual effects, and more importantly, what opportunities does this new cross-stitched terrain offer the contemporary artist engaging painting? A class for committed and experienced painters and those interested in the discourse, materials and techniques of the discipline, this course challenges students to chart a path through the many debates ensnaring painting and contemporary art. What effect has photography, the Internet, social media, and alternate forms of distribution had on painting? How have artists in the past grappled with the seismic technological and social shifts that define Spectacle and mass society? What kinds of models for painting-centered practice can emerge from the new visual and conceptual spaces created today, and how can painting operate within new image economies as well as traditional exhibition structures? Through a series of discrete projects, theoretical and art historical readings, field trips, critiques and discussions, this class will offer students rigorous material instruction while situating their projects within a context as riven with high-low polarities as opportunities to dismantle them.