RESOURCES

Painting and Drawing Resources for Art Students and Instructors

“The art instructor has an indispensable role in shaping students’ art production and understanding of art’s present and historical cultural values. Many previous instructors and mentors have inspired me immensely with their love for making and looking at art, interlaced with a deeply moving dedication to passing on their research and knowledge. A wish to continue this cultural generosity is my professional commitment.” *

Link to examples of Morre’s previous student’s work here: Student work on Flickr

Former student Brea Weinreb with her paintings and subjects

“Teaching and learning within the structure of the fine arts is a complex set of practices. My teaching methods include instruction about particular art making methodologies via specific artists who make use of them, demonstrations of crucial techniques, refinement of technique through practice, guidance through improvement, and the development of personal styles. I strive to understand what types of interventions are needed in order to motivate students to develop critical visual thinking about their own work, to become proficient in the methods they use in the production of art, and to naturally develop their interests and production. 

The primary focus of my upper division painting course is threefold: to advance technical skills in the process of painting through extensive in-class practice, to develop personal forms of expression by familiarizing students with the diverse painting methodologies of past and contemporary painters, and to learn about the most important painters and movements since the 1900’s in order to unfold the theoretical complexities encountered on the historical journey of painting.” *

Download PDF with links to historical and contemporary painters here: Painters

In-class demonstration with the three stages of portrait painting in oil. Subjects: Marlene Dumas, Agnes Martin, and Sonya Rapoport

“The conceptual underpinning of figure drawing practice is inseparable from the process of drawing. Readings available on bCourses, lectures on historical and contemporary figure drawing practices, and discussions while looking at students’ projects offer an overview of complex discourses concerning gender and representation, objectification, the gaze, the reclamation of sexuality, empowerment, and critical issues surrounding nudity, nakedness, and human representation. As a consequence of my continuous research, every semester new artists, images, and texts are added to my instructional materials. Importantly, I make a concerted effort to foreground recent and contemporary global figure drawing practices in my lectures, and discuss ways in which artists reinterpret, challenge, and subvert the history of this subject.” *

Download PDF with links to historical and contemporary figurative drawings and artists here: Figure Drawings

Riva Lehrer, Totems and Familiars: Deborah Brod, 2009, graphite and mixed media on paper, 30″ x 40”

“The essential component of the upper division painting class is familiarization with the history, theory, and criticism of painting in the last hundred and twenty years through relevant readings, lectures, and other source materials. Being a painter myself and having a degree in Art History has enabled me to craft a carefully curated selection of theoretical materials. The discipline of analytically looking at art is as important as producing art, and it gives me great pleasure to share my own research into historical and contemporary practices of painting with my students. Starting with the early 1900’s, my lectures travel through the history of painting, paying attention not only to all the “isms” of the past 120 years, but to the individual objectives of painters as they relate to their time and to each other. I foreground non-Western perspectives where historical lectures are directly coupled with lectures on contemporary painting practices to provoke a critical relationship between current global tendencies and their histories. Critical attention is directed toward colonial histories, together with an overview of inclusive and cross-continental painting practices.” *

Link to Morre’s collection of art books here: Librarika 

Download Morre’s recommended art books here: Art Books

Download PDF with links to publicly accessible art theory and criticism articles here: Art Theory and Criticism Articles

Random books on my studio desk

“In my role as an educator, I continuously strive to inform myself and share with my students a more inclusive vision for the past, present, and future of art practice. My considerable efforts to add new and relevant instructional materials including books, articles, and image resources is evidence of my ethical convictions, and my mission to incorporate a broad cross section of voices in art history, theory and criticism, as well as an inclusive selection of artists and theorists from diverse cultural, ethnic, and socio-political backgrounds.” *

* Excerpts from Morre’s Teaching Philosophy Statement