email: brian_curtis@mac.com
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Brian Curtis,artist,painting,oil painting,narrative painting,drawing,narrative drawing,charcoal drawing,digital imaging,narrative digital images,oil pastel on paper,drawing from observation,introductory perceptual drawing,introductory perceptual drawing text,drawing text,how to draw,observational drawing,renaissance drawing,observational drawing,drawing what you see, drawing essentials,drawing technique,drawing mechanics.drawing materials,intuitive gesture,intuitive perspective,clock angle,clock angle drawing tool,positive/negative shape,perceptual grid,x/y axes,Mondrian Grid,Mondrian tool,alberti's veil,gesture drawing, extended gesture drawing, proportion,Golden Mean, Sacred Geometry,Golden rectangle,Pythagoras,Phidias,Great Pyramid of cheops,Stonehenge,Solomon's temple,pentagram,mandelbrot set,cross-contour,cross contour,atmospherice perspective,flag drawings,foreshortened circles,circles in perspective,ellipses,cirkutcamera,imaginary birdhouses,biomorphic form,schema,tree drawings,chiaroscuro,continuous-tone,continuous tone drawing,Akhenaton,Mach bands,simultaneous contrast,visual field,visual world,linear perspective,scientific perspective,monocular cues,alternative perspectives,one-point perspective,two-point perspective,three-point perspective,fixation point,brunelleschi,vanishing point,picture plane,cone of vision,birds-eye perspective,composition,gestalt principles,principles and elements,symmetry,picture plane dynamics,visual power of proximity,emphasis by contrast,emphasis by isolation,visual weight of depth,rule of thirds,rule of odds,thumbnails,viewing frames,drwing assignments,asymmetry,fibonacci sequence,he parthenon,brian curtis resume,artist statement,figurative painting,figurative drawing,observational drawing,conference presentations,CAA conference presentations, F.A.T.E. Conference presentations,SECA conference presentations,MACAA conference presentations,n'art
last updated 6/14/11
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Panel for 2011 SECAC Conference (Savannah)
chaired by Brian Curtis, Associate Professor, University of Miami, Coral Gables, Florida
November 11, 2011

Panel participants:
Michael Aurbach, Vanderbilt University
Chad Airhart, Carson-Newman College
Peter Kaniaris, Anderson University
Franklin Einspruch Independent Artist, Art Writer

After reading two recently published collections of essays, "Art School:Propositions for the 21st Century" and "Rethinking the Contemporary Art School: The Artist, the Ph.D and the Academy," I came away with the distinct impression that the highly visible proponents of a language based, post-studio, post-Duchampian, post-retinal, post-object model of contemporary practice that valorizes digital technology, collaboration, social process, topicality, and discursivity are unashamedly radicalizing the nature of art and in a manner that encourages the elimination of traditional aesthetics and media driven, hands-on studio training. On the other end of the philosophical spectrum we find Denis Dutton in his recent book, “The Art Instinct,” arguing from a Darwinian perspective that humans have evolved with an innate predisposition, embedded deep within our minds and inherited from our most ancient ancestors, to value and crave mega-wallops of direct intuitive sensory pleasure from our experiences of performances or objects that require specialized skill in their making, require a decoupling from practical concerns, logic, and rational understanding, while acknowledging their place in the long-standing traditions of art. Can both of these positions be equally valid? Is there a common ground where both Duchamp’s legacy and Dutton’s application of Darwin’s theory can co-exist?

Chad Wesley Airhart, Ph. D. - Carson-Newman College
CALL FOR PAPERS
LINKS TO PANEL PRESENTATIONS
Peter J. Kaniaris, MFA - Anderson University
Franklin Einspruch, MFA - Independent Artist, Art Writer