Dominik Styk, o.T., 2018, acrylic on canvas, 130 x 170 cm
Excursion Schmausenbuck, Klasse Kühn 2017, Theresa Hartmann, Jonas Rausch, Michael Grebner, Rebecca Henkenhaf, Frederik Gentzsch, Clemens Riggenmann, Rebecca Arnold
Eva Nüßlein, Big Foot, 2015, acrylic on canvas, 50 x 60 cm
Klasse Kühn Auf AEG: Seonghun Kim, Julie Batteux, Simon Kellermann, Alena Scharrer, Mirjam Walter
Gloria Sogl, o.T., 2018, various cloths, acrylic, yarn, 180 x 150 cm
Jonas Rausch, Thermonuclear Sweat, 2018, mixed media on canvas, 120 x 120 cm
Simon Kellermann, Dearest Heart, 2017, acrylic on canvas, 70 x 50 cm
Jahresausstellung 2017: Leonora Prugger, Constanze Kriester, Luci Schmuck
Nürnberg Transfer, class exchange with HGB Leipzig, Klasse Prof. Meller, Rebecca Arnold
Class Prof. Kühn, excursion, Venedig Biennale 2017 participating in the Biennale Sessions
Painting cannot be reduced to gestural markings on a canvas, nor to the medium of colour and its form. Above all, painting is a creative process.
A picture shows the content which has been selected for appreciation; the artistic languages and symbols into which the painterly markings are translated; whether and how the painting relates to its social context, which emotions are involved and how colour as a visual impression of light expresses complex thought processes and sense perception.
These core aspects only become a process based on the temporal sequence of painterly markings. Each of these markings depends on the artist’s creative and reflective thought processes and subjective attitude, their personal values having evolved through engaging with their environment.
So what practical significance does the painting process have in the creation of a picture? For instance, how can we still paint landscapes or portraits when countless artistic forms of expression (abstract, representational and so forth) have already been applied to these subjects? What possibilities do we have when painting a landscape or figure which transforms the picture into an artwork with a specific locational or temporal relevance?
In my class, I seek to foster students’ awareness of this fascinating and extremely open creative process of painting and to consciously apply it.
By communally analysing the creative process of the students’ works, letting them explore their own interests and preferences in terms of creative form, medium and content, learn and experiment with painting techniques and forms of expression, and by continuously developing the concept of painting in the dimensions of the present real and virtual world, the class becomes a platform for which the finished picture is not only the product of painterly creation, but more importantly, the discussion which it kindles.
In our class meetings we regularly show the students’ works in simulated exhibition situations in our rooms and discuss them in the light of artistic strategies, art history and contemporary positions, and autobiographical texts. Personal interviews take place to analyse works in depth and provide important stimuli for further development.
Exhibition projects, designing the class website (www.klasse-kuehn.de), guest artists and study trips provide a basis for students to think about the orchestration of their own works and develop their own personal approach to balancing sensory presence and intellectual concept.