Prof. Thomas Hartmann

Class for Painting

Gerhard Eichinger, Zwei gehen 14 - 17, dimensions variable, acrylic on plexiglas, 2016

Elena Schekeler, Kham, 2016, photograph/Phorex, installation (10-tlg.), diverse materials

Johannes Listewnik, Palmen aus Plastik, 2017, acrylic on various fabrics, 79 x 133 cm

Katharina Kraus, Weiße Pracht, 2016, 340 x 140 cm, acrylic on nettle

Marco Stanke, Kollektiv, Bender-Schwinn-Projekt, installation

Nadja Schmidt, Fehler, 2015, 330 x 330 cm, acrylic on paper

Philipp Zörndlein, o.T., 2014, mixing technique, 100 x 120 cm

Stella Refle, ohne Titel, 2014, stretcher, ink on canvas, 41 x 27 cm

Ulrich Kainder, Earth covers Earth, 2016, mixing technique on canvas, 200 x150 cm,
Aû j· pojedu, mixing technique on canvas, 2016, 160 x 200 cm

From the origins of humankind painting was one of the few means of self-expression. I regard painting as the supreme discipline in fine arts, because it is deeply rooted in human nature. It can be wild, sloppy, pompous, precise or blurred, but it only issues from the hand of its creator. Painting is possible with few technical aids – everything you need is available and directly accessible.

 

Every painter deals with experiences and perceptions in their own characteristic fashion. I can best speak about my work from a bird's eye perspective. Seen from a distance, I can talk about it. A work can scarcely be produced by force of will alone and it is difficult to define what empowers artists to paint pictures. I am primarily moved by two contradictory irreconcilable ways of looking at things, because I fail to find an appropriate distance to my pictures. The desire for change, as few repetitions as possible, drives me and keeps my work in a state of flux. Internalised all impressions blur into the idea of a picture. The content is composed of what can be achieved by the movement of the outstretched arm, which guides the brush to the canvas, the traces conveying the uniqueness of the signature.

 

The most important aspect of painting is decision-making. It always symbolises a new beginning. The difficult part is the act of detachment to be able to create new pictures. And yet no picture is lost, for every new one unifies the experiences of all those painted before.

 

Anyone choosing a creative path is closer to certain insights than in other professions. In this sense teachers and students are the same. It is like photography when the film is exposed but not yet developed. At the development stage the teacher can provide support, explaining the various stages and then help to cement the learned material. Discovering things as an artist is wonderful, but you have to learn to understand your own works to develop them the way you want.

 

The academy is not an ivory tower, but a safe space for a certain period to give students the time they need. Artists need to be bold and self-confident. But above all, they have to work. It is about commitment and creativity, but not self-realisation. Painting a usable picture calls for a huge amount of effort. Only by working can you discover. Speaking from my own experience, regular hours at the studio even as a student helps you later to survive when you are on your own. Artists flounder not only before the precepts of the art market – although knowing how to handle them is, of course, very important – but also and more often before themselves, before the daily work in the studio, not repeating themselves, drawing on their own creative resources. What I want for the artistic life of young painters is that they learn how to vary and relativise their own methods and ideas in the process of painting. In essence, this calls for a sound artistic stance, which I try to teach my students. In addressing art you not only learn content and techniques, but also skills, methods and even attitudes. You change your attitude to the social and cultural scene and not least to yourself. I think that art has something to do with the urge to test ourselves to the very limits. That is why I attach importance to a sure foundation and I'd like to give every student a good foundation on which he/she can build as they like. How you express yourself is secondary; the effort to express the personal path you have chosen is what I aim to achieve with my students.

 

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Artistic Classes

free and applied arts, postgraduate program

Das Studium an der AdBK Nürnberg ist im Klassenverband organisiert, der alle Studierende unabhängig ihrer bereits absolvierten Semester eint. Die durchlässigen Klassenstrukturen ermöglichen den Studierenden im Rahmen der Lehre eine freie und selbstständige Entwicklung. Im offenen Diskurs werden die geschaffenen Werke der Studierenden zu regelmäßig stattfindenden Klassentreffen besprochen und diskutiert.
 

Die Fachrichtungen an der AdBK Nürnberg teilen sich in angewandte und freie Bereiche auf. Während die Klassen für Freie Kunst / Gold- und Silberschmieden und Grafik-Design / Visuelle Kommunikation zu den angewandten Künsten zählen, gehören die übrigen Klassen der freien Kunst an. Das Lehramtsstudium Kunst als Doppelfach kann in allen freien Klassen absolviert werden.
 

Mit dem postgradualen Studiengang „Künstlerisches Handeln im öffentlichen Raum“ bietet die AdBK Nürnberg eine weiterführende Ausbildung an, die sich an Interessenten mit einem bereits abgeschlossenem Studium richtet.

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