Catalogue 2021-2022 [ARCHIVED CATALOG]
Art Department
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Chair: Laura Newman;
Professors: Tobias Armborstb, Lisa Gail Collinsab, Eve D’Ambrab, Brian Lukacher, Molly Nesbit, Laura Newman;
Associate Professors: Peter M. Charlapa, Yvonne Elet;
Assistant Professors: Gordon Hall, Elizabeth Lastra, Adedoyin Teribaa, Jin Xu;
Lecturer: T. Barton Thurber;
Visiting Assistant Professors: Joshua Marsh, Christina Tenaglia;
Adjunct Assistant Professors: Abigail Gunnels, Judith Linn, Haohao Lu, Jesse McCormick, Gina Ruggeri;
Adjunct Instructor: Caroline Culp.
Art History Major Advisers: The art history faculty.
Studio Art Major Advisers: The studio art faculty.
a On leave 2021/22, first semester
b On leave 2021/22, second semester
ab On leave 2021/22
Major
Correlate Sequences in Art
Art: I. Introductory
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ART 105 - Introduction to the History of Art and Architecture Semester Offered: Fall
1 unit(s)
Opening with the global present, ART 105 now uses today’s digital universe as a contemporary point of reference to earlier forms of visual communication.Faculty presentations explore the original functions and creative expressions of art and architecture,shaped through varied materials, tools andtechnologies. Within this visual legacy fundamental experiences and aspirations emerge: forms of religious devotion, attitudes toward nature and the human body, and the perpetual need for individual and social definition. Moving through painting, sculpture and architecture of pre-history through great monuments of the Middle East, Egypt, Greece, Rome and Asian Antiquity, we examine the flowering of medieval art and architecture through current research in computer imaging. The print revolution and the Protestant Reformation’s redirection of the role of images then lead us to connections between Renaissance art and science in works by Leonardo da Vinci and Albrecht Dürer. Weekly discussion sections help students develop essential tools of visual analysis through study of original works in the Frances Lehman Loeb Art Center. Electing both semesters of ART 105, 106 in chronological sequence is strongly recommended, but each may now be taken individually or in the order that fits a student’s schedule.
NRO available for juniors and seniors.
Open to all classes. Enrollment limited by class.
Three 50-minute periods and one 50-minute conference period.
Course Format: CLS -
ART 106 - Introduction to the History of Art and Architecture Semester Offered: Spring
1 unit(s)
ART 106 continues exploration of an accelerating global exchange of images and ideas from Michelangelo in the High Renaissance to contemporary architecture and video. Between then and now, we consider the emergence of the public art museum along with industrializing cultures and mass media in the nineteenth century. As we trace the rise of modernity and the increasing authority assumed by artists and architects, we examine new forms of public space, both urban and natural, and the impact of alternative creative and political practices. In considering American developments, Art 106 provides a focus for analyzing the ongoing dynamic between indigenous and newly arriving cultural forms: Native American, African American, Latino, Asian and European. Such diversity has created a richly layered foundation for today’s efforts to interpret, display and safeguard the world’s irreplaceable cultural heritage, old and new. Electing both semesters of ART 105 ,106 in chronological sequence is strongly recommended, but each may now be taken individually or in the order that fits a student’s schedule.
NRO available for juniors and seniors.
Open to all classes. Enrollment limited by class.
Three 50-minute periods and one 50-minute conference period.
Course Format: CLS -
ART 120 - The Vassar Campus Semester Offered: Fall
0.5 unit(s)
(Same as CLCS 120 ) A multidisciplinary exploration of the Vassar College campus. This intensive course is conducted as a succession of local field trips to sites across the college, and walks around campus. With this direct experience of landscape, buildings, and collections, from works of art to natural history specimens, we consider the history of Vassar’s campus, as well as our lived experience of campus spaces. We also approach our own campus in broader contexts, exploring the notion of campus in American culture, the campus as physical space and as idea, and the role of place in higher education. Individual projects allow participants to explore a campus space of their choice in various modes. Students from all majors are encouraged to apply. Yvonne Elet.
Prerequisite(s): Permission of the instructor.
First six-week course.
Course Format: INT -
ART 125 - Vassar Collects, 1864-Present
0.5 unit(s)
Since the founding of the College, artifacts, specimens, and works of art have been collected and used regularly for teaching, display, and research. In conjunction with an artist commission for the new Institute of Liberal Arts, students seek, examine, and document original objects across the campus and in diverse holdings for inclusion in the project. Readings draw from the fields of geology, anthropology, archaeology, music, art history, and other disciplines. T. Barton Thurber.
Prerequisite(s): Permission of the instructor.
Second six-week course.
One 2-hour period.
Not offered in 2021/22.
Course Format: INT -
ART 144 - Living in the Ancient City Semester Offered: Fall
0.5 unit(s)
(Same as GRST 144 and URBS 144 ) The great Mediterranean cities of Classical Antiquity, Athens in the 5th c. BC and Rome in the 1st-2nd c. CE (along with some of their satellite cities), are synonymous with the rise of western civilization. The city plans and monumental architecture dominate our view, but this course also focuses on the civic institutions housed in the spectacular buildings and the social worlds shaped by the grand public spaces, as well as the cramped working quarters. Neighborhoods of the rich and the poor, their leisure haunts, and places of congregation and entertainment are explored to reveal the rituals of everyday life and their political consequences. Eve D’Ambra.
Second six-week course.
Two 75-minute periods.
Course Format: CLS
Art: II. Intermediate
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ART 211 - Rome: The Art of Empire Semester Offered: Fall
1 unit(s)
(Same as GRST 211 and URBS 211 ) From humble beginnings to its conquest of most of the known world, Rome dominated the Mediterranean with the power of its empire. Art and architecture gave monumental expression to its political ideology, especially in the building of cities that spread Roman civilization across most of Europe and parts of the Middle East and Africa. Roman art also featured adornment, luxury, and collecting in both public and private spheres. Given the diversity of the people included in the Roman empire and its artistic forms, what is particularly Roman about Roman art? Eve D’Ambra.
Prerequisite(s): ART 105 -ART 106 or GRST 216 or GRST 217 , or permission of the instructor.
Two 75-minute periods.
Course Format: CLS -
ART 215 - The Art and Archaeology of Ancient Egypt
1 unit(s)
(Same as GRST 215 ) Ancient Egypt has long fascinated the public with its pyramids, mummies, and golden divine rulers. This course provides a survey of the archaeology, art, and architecture of ancient Egypt from the prehistoric cultures of the Nile Valley through the period of Cleopatra’s rule and Roman domination. Topics to be studied include the art of the funerary cult and the afterlife, technology and social organization, and court rituals of the pharaohs, along with aspects of everyday life. Eve D’Ambra.
Prerequisite(s): ART 105 or ART 106 or one unit of Greek and Roman Studies, or permission of the instructor.
Two 75-minute periods.
Not offered in 2021/22.
Course Format: CLS -
ART 219 - The First Cities: The Art and Archaeology of the Ancient Near East
1 unit(s)
(Same as GRST 219 and URBS 219 ) The art, architecture, and artifacts of the region comprising ancient Iraq, Iran, Syria, Palestine, and Turkey from 3200 BCE to the conquest of Alexander the Great in the fourth century BCE. Beginning with the rise of cities and cuneiform writing in Mesopotamia, course topics include the role of the arts in the formation of states and complex societies, cult practices, trade and military action, as well as in everyday life. How do we make sense of the past through its ruins and artifacts, especially when they are under attack (the destruction wrought by ISIS)? Eve D’Ambra.
Prerequisite(s): ART 105 or 106 or one unit in Greek and Roman Studies, or permission of the instructor.
Two 75-minute periods.
Not offered in 2021/22.
Course Format: CLS -
ART 220 - Medieval Art and Architecture Semester Offered: Fall
1 unit(s)
This course surveys the art and architecture of Europe and Byzantium during the Middle Ages, a thousand-year period from ca. 400 to 1400. Exploring medieval art and visual culture chronologically, we consider a number of topics central to medieval society including monasticism, icons and iconoclasm, saints and their relics, pilgrimage, and court culture. The course covers the wide range of medieval artistic production, from various forms of painting and sculpture to wood and ivory carving, mosaic, metalwork, textiles, and architecture. Elizabeth Lastra.
Prerequisite(s): ART 105 or ART 106 , coursework in Medieval Studies, or permission of the instructor.
Two 75-minute periods.
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ART 221 - Islamic Art and Architecture Semester Offered: Fall
1 unit(s)
This course surveys Islamic art and architecture from the beginnings of Islam in the 7th century through the early modern period. We cover Umayyad Jerusalem and Damascus, Abbasid Baghdad, Fatimid Cairo, the period of the Crusades, the impact of the Mongols, and the Gunpowder Empires, as well as a range of media from architecture and monumental decoration to textiles and calligraphy. Throughout the course, we explore the interactions between Islamic art and neighboring peoples and cultures. Elizabeth Lastra.
Prerequisite(s): ART 105 or ART 106 , coursework in Medieval Studies, or permission of the instructor.
Two 75-minute periods.
Course Format: CLS -
ART 230 - Art in the Age of Van Eyck, Durer and Bruegel Semester Offered: Spring
1 unit(s)
The Northern Renaissance. Early Netherlandish and German art from Campin, van Eyck and van der Weyden to Bosch, Bruegel, Dürer and Holbein. This transformative period, which saw the invention of the printing press in the fifteenth century and the explosive turmoil of the Protestant Reformation in the sixteenth century, generated a profound reassessment of the role of images in the form of new responses toward human representation in devotional and narrative painting and printmaking as well as developments in secular subjects such as portraiture and landscape. Haohao Lu.
Prerequisite(s): ART 105 or ART 106 or permission of the instructor.
Two 75-minute periods.
Course Format: CLS -
ART 231 - The Golden Age of Rubens, Rembrandt and Vermeer
1 unit(s)
An exploration of painting and printmaking during the Golden Age of the Netherlands. Lectures focus on Rubens, Rembrandt, Vermeer and their contemporary colleagues who specialized in landscape, still life, architectural and marine painting. While examining the effect of differing religions systems in Flanders and the Dutch Republic, we consider how economic triumph, scientific research and global trade stimulated the formation and flowering of Netherlandish art in the Age of Observation.
Prerequisite(s): ART 105 or ART 106 or permission of the instructor.
Two 75-minute periods.
Not offered in 2021/22.
Course Format: CLS -
ART 235 - The Rise of the Artist, from Giotto to Leonardo da Vinci
1 unit(s)
A survey of Italian art c. 1300 - c.1500, when major cultural shifts led to a redefinition of art, and the artist emerged as a new creative and intellectual power. The course considers painting, sculpture and decorative arts by artists including Giotto, Donatello, Botticelli, and Leonardo. Our study of artworks and primary texts reveals how a predominantly Christian society embraced the revival of ancient pagan culture, elements of atheist philosophy, and Islamic science. We also discuss art in the context of nascent multiculturalism and consumerism in the new city-states; the importance of new communications systems, such as print; and artistic exchange with northern Europe and the Eastern Mediterranean centers of Baghdad and Constantinople. Other topics include art theory and criticism; techniques and materials of painting and sculpture; experiments with multimedia and mass production; developments in perspective and illusionism; ritual and ceremonial; and art that called into question notions of sexuality and gender roles. Yvonne Elet.
Prerequisite(s): ART 105 or ART 106 , or permission of the instructor; open to students without prerequisites who have taken any courses in Italian.
Two 75-minute periods.
Not offered in 2021/22.
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ART 236 - Art in the Age of Leonardo, Raphael, and Michelangelo Semester Offered: Fall
1 unit(s)
(Same as ITAL 236 ) An exploration of the works of these three masters and their contemporaries in Renaissance Italy, c. 1485 - c. 1565. The primary focus is on painting and sculpture, but the course also considers drawings, prints, landscape, gardens, and decorative arts, emphasizing artists’ increasing tendency to work in multiple media. We trace changing ideas about the role of the artist and the nature of artistic creativity; and consider how these Renaissance masters laid foundations for art, and its history, theory and criticism for centuries to come. Other topics include artists’ workshops; interactions between artists and patrons; the role of the spectator; ritual and ceremonial; and Renaissance ideas about beauty, sexuality and gender. Yvonne Elet.
Prerequisite(s): ART 105 or ART 106 , or permission of the instructor; open to students without prerequisites who have taken any courses in Italian.
Two 75-minute periods.
Course Format: CLS -
ART 240 - Activating the Architectural Uncanny in the City
1 unit(s)
(Same as URBS 240 ) Cities all over the world and in different eras have become participants and arenas in creating urban spectacles. Often such activities consist of processions involving masquerades, mobile floats, musicians decked in elaborate attire and playing instruments – commemorating the dead, the living, royalties and politicians; to name a few examples. This course will study how certain case-studies - ranging from Mexico City to Notting Hill in London – demonstrate how architectural facades, urban spaces as well as certain ceremonies activate an uncanny experience, which may even echo Trahndorff’s theory of the Gesamtkuntswerk. Adedoyin Teriba.
Two 75-minute periods.
Not offered in 2021/22.
Course Format: CLS -
ART 251 - American Art from Colonial Encounters to the Harlem Renaissance Semester Offered: Spring
1 unit(s)
(Same as AMST 251 ) How can we encounter the histories of America in works of art? Why should we care about encountering them? This course explores such questions by surveying some of the most compelling paintings, sculptures, photographs, prints, and decorative arts produced in the United States—from the first encounters between indigenous peoples of this land to New York City’s Harlem Renaissance in the 1920s. Whenever possible, course meetings are held at the Loeb Art Center, and an optional class trip to New York City art museums is organized. In these class lectures and discussions, our goal is to articulate together how works of art from the past shape and construct our sense of American history, and how art continues to matter today. Artists covered include John Singleton Copley, Thomas Cole, William Sydney Mount, Mato-tope (and other Mandan artists), David Drake, Winslow Homer, Mary Cassatt, and Jacob Lawrence, among many others. Caroline Culp.
Prerequisite(s): ART 105 or ART 106 or a 100-level American Studies course, or permission of the instructor.
Two 75-minute periods.
Course Format: CLS -
ART 256 - The Arts of China
1 unit(s)
(Same as ASIA 256 ) This course offers a survey of art in China from prehistory to the present. The remarkable range of works to be studied includes archeological discoveries, imperial tombs, palace and temple architecture, Buddhist and Taoist sculpture, ceramics, calligraphy, painting, and experimental art in recent decades. We examine the visual and material features of objects for insight into how these works were crafted, and ask what made these works meaningful to artists and audiences. Readings in primary sources and secondary scholarship allow for deeper investigation of the diverse contexts in which the arts of China have evolved. Among the issues we confront are art’s relationship to politics, ethics, gender, religion, cultural interaction, and to social, technological, and environmental change. Jin Xu.
Prerequisite(s): ART 105 or ART 106 , one Asian Studies course, or permission of the instructor.
Two 75-minute periods.
Not offered in 2021/22.
Course Format: CLS -
ART 260 - The Silk Roads: Visual and Material Culture Semester Offered: Fall
1 unit(s)
(Same as ASIA 260 ) Stretching some 8,000 kilometers from east to west, the Silk Road is a network of trade routes that provided a bridge between the east and the west. Although the eastern part of the routes had been in use for millennia, the opening of the Silk Road occurred during the first century BCE, when China secured control over the eastern section and began trading with the Roman Empire through intermediary states in Central Asia. From this time until the end of the Mongol Yuan period in the fourteenth century, with periods of disruptions, the Silk Road flourished as a commercial and at times military highway. But more than that, the Silk Road was a channel for the transmission of ideas, technologies, and artistic forms and styles, with far-reaching impact beyond China and the Mediterranean world, extending to Southwest Asia, Africa, the Atlantic shores of Europe, and Japan to the east. This course examines the art forms that flourished along the Silk Road between the first and fourteenth centuries CE, ranging from ceramics, glass, gold and silverware, textiles, to religious art. Special attention is paid to important sites such as Dunhuang (a Buddhist cave-temple site), Chang’an (capital of Han and Tang China), and Shosoin (the imperial art treasure house of Nara Japan). Jin Xu.
Two 75-minute periods.
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ART 262 - Art and Revolution in Europe, 1789-1848 Semester Offered: Fall
1 unit(s)
A survey of major movements and figures in European art, 1789-1848, focusing on such issues as the contemporaneity of antiquity in revolutionary history painting, the eclipse of mythological and religious art by an art of social observation and political commentary, the romantic cult of genius, imagination, and creative self-definition, and the emergence of landscape painting in an industrializing culture. Brian Lukacher.
Prerequisite(s): ART 105 or ART 106 , or permission of the instructor.
Two 75-minute periods.
Course Format: CLS -
ART 263 - Painters of Modern Life: Realism, Impressionism, Symbolism Semester Offered: Spring
1 unit(s)
A survey of major movements and figures in European art, 1848-1900, examining the realist, impressionist, and symbolist challenges to the dominant art institutions, aesthetic assumptions, and social values of the period; also addressing how a critique of modernity and a sociology of aesthetics can be seen developing through these phases of artistic experimentation. Brian Lukacher.
Prerequisite(s): ART 105 or ART 106 , or permission of the instructor.
Two 75-minute periods.
Course Format: CLS -
ART 264 - The Metropolitan Avant-Gardes
1 unit(s)
(Same as MEDS 264 and URBS 264 ) Radical prototypes of creativity and self-organization were forged by the new groups of artists, writers, filmmakers and architects that emerged in the first decades of the twentieth century. They based themselves in the new metropolitan centers. The course studies the avant-gardes’ different and often competing efforts to meet the economic transformation that industrialization was bringing to city and country alike. Afterward, the role of art itself would be seen completely differently. Molly Nesbit.
Prerequisite(s): ART 105 or ART 106 , or permission of the instructor.
Two 75-minute periods and one weekly film screening.
Not offered in 2021/22.
Course Format: CLS -
ART 265 - Modern Art and the Mass Media: the New Public Sphere Semester Offered: Fall
1 unit(s)
(Same as MEDS 265 and URBS 265 ) When the public sphere was reset during the twentieth century by a new order of mass media, the place of art and artists in the new order needed to be claimed. The course studies the negotiations between modern art and the mass media (advertising, cinema, TV), in theory and in practice, during the years between the Great Depression and the liberation movements of the late 1960s–the foundation stones of our own contemporary culture. As a consequence, the physical spaces of culture would be reimagined and designed. Molly Nesbit.
Prerequisite(s): ART 105 or ART 106 .
Two 75-minute periods and one film screening.
Course Format: CLS -
ART 266 - Art, Urgency, and Everyday Life in the United States
1 unit(s)
(Same as AFRS 266 and AMST 266 ) An interdisciplinary exploration of how a range of U.S. based creators–through their artistic practices, aesthetic choices, and expressive interventions–are grappling with urgent issues of our time. Lisa Collins.
Prerequisite(s): ART 105 or ART 106 or coursework in Africana Studies, American Studies, Women’s Studies, or permission of the instructor.
Two 75-minute periods.
Not offered in 2021/22.
Course Format: CLS -
ART 268 - After 1968: Sustainable Aesthetics Semester Offered: Spring
1 unit(s)
(Same as MEDS 268 and URBS 268 ) This course studies the emancipation of the visual arts after 1968, here and abroad, together with the political and philosophical discussions that guided them. Theory and practice would form new combinations. The traditional fine arts as well as the new media, performance, film, architecture and installation art are treated as part of the wider global evolution creating new theaters of action, critique, community and hope. Molly Nesbit.
Prerequisite(s): ART 105 or ART 106 .
Two 75-minute periods and one film screening.
Course Format: CLS -
ART 272 - “All That Is Solid Melts Into Air”: Modernity’s Global Story Through Architecture (1800s-1930s)
1 unit(s)
(Same as URBS 272 ) While the ideas that gave rise to an era that today is spoken of as the age of Modernity originated in the Enlightenment or even the Renaissance; architecture’s account of Modernity took an acute and unprecedented turn at the end of the nineteenth century, which coincided with the rise of the Industrial Revolution. Adolf Loos and F.T Marinetti rejected past architectural forms and championed minimalist structures that spoke to the new technological age. Antonio Gaudi and others created an ornate architecture known as Modernistá. In other parts of the world, Modernity’s tale involved movement of former slaves recasting Classical, Renaissance and Baroque architecture as their own, modern architecture. This class explores how the advent of Modernity into the world assumes many guises if narrated through the architecture people created. Adedoyin Teriba.
Prerequisite(s): ART 105 or ART 106 or permission of the instructor.
Two 75-minute periods.
Not offered in 2021/22.
Course Format: CLS -
ART 273 - A Mirror Image: The Search for Self, Place & Home in Contemporary Architecture in the World, 1980s+
1 unit(s)
(Same as URBS 273 ) One could imagine that in the 1970s, the architectural movement known as the International Style looked back at the twentieth century with glee, surveying its spoils. It was after all, a style of architecture that held the century in thrall for almost 50 years; determining the built forms for much of the world in steel, glass and concrete. Le Corbusier for instance, likened architecture to a machine with parts that could be erected and function anywhere. Yet voices arose to articulate local architectural responses to such a paradigm, where the interrelationship between self, place, identity and home needed to be articulated in built form. The phrase that became the rallying cry for such a movement was “Critical Regionalism” and this course analyzes how many architectural projects in Asia, Africa, Europe and the Americas embodied an approach to a more humane architecture. Adedoyin Teriba.
Prerequisite(s): ART 105 or ART 106 or permission of the instructor.
Two 75-minute periods.
Not offered in 2021/22.
Course Format: CLS -
ART 274 - Buildings and Cities in Early Modern Italy
1 unit(s)
(Same as URBS 274 ) A history of architecture and urban design on the Italian peninsula, c. 1300-1700. We focus on the influential centers of Florence, Rome, and Venice, with reference to parallel developments elsewhere in Europe and the Mediterranean. Buildings and urban spaces are considered in social and political contexts, looking at the social structures as well as the patrons for which they were designed: governments, trade guilds, popes, nobles, and merchants. We study architectural and urban forms in relation to their functions, considering quotidian and ceremonial uses, the public and private spheres, and gendered spaces. Visual and textual evidence of performance, navigation, ritual, and sound reveal the varied ways that interior and exterior spaces could be experienced. Other topics include the changing role of the architect; individual versus collaborative design methods; the relation between theory and practice; new media; the transmission of memory; patterns of urban information exchange; manifestations of the ideal city; and the relation of urban, suburban, and rural topography. We investigate the designs and built work of such figures as Brunelleschi, Leon Battista Alberti, Leonardo da Vinci, Bramante, Raphael, Michelangelo, Palladio, Bernini, and Borromini. We also consider multimedia ensembles that blur traditional boundaries among art, architecture, urbanism, and landscape. Yvonne Elet.
Two 75-minute periods.
Not offered in 2021/22.
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ART 277 - Visual Psychedelia Semester Offered: Fall
0.5 unit(s)
The youth oriented counter-culture of the 1960s and early 1970s was defined in part by the ”altered states” induced through hallucinogenic drugs. This phenomenon resulted in a complicated array of new forms of visual culture. We will examine these developments in the art movements (op-art and others), poster art/graphic design, album covers, and cinema associated with the drug culture of LSD. The popular revival and recovery of the work of earlier artists (Bosch, Blake) and artistic trends (art nouveau) that were deemed “visionary” will also be considered. The creative theories of the mind and higher consciousness associated with hallucinogens are examined, from Coleridge, Baudelaire, and Huxley, to Leary, Bateson, and Casteñeda. Brian Lukacher.
Prerequisite(s): ART 106 or permission of the instructor.
Second six-week course.
Two 75-minute periods.
Course Format: CLS -
ART 286 - Lines Intertwine: Fay Jones and the Architecture of the Ozarks Semester Offered: Spring
1 unit(s)
(Same as URBS 286 ) In 1980, the opening of the Thorncrown Chapel in Eureka Springs, Arkansas launched Fay Jones, an Arkansas architect and erstwhile professor of architecture at the University of Arkansas – who designed the building - onto the international scene. More than 3 million visitors from around the world have visited the chapel since then. The edifice is significant for its site: it is in a forest, almost resembling the natural landscape it is embedded in. The structure is almost entirely made from glass, except for long pieces of wood that intersect in the top part of the building, producing intertwined lines of remarkable beauty. The cross-bracing or intertwining of lines became a signature motif of Jones’ residential, secular and sacred architecture as well as his vision of what an architecture of the Ozarks could be – with the multitude of forests in the region.
Hence, during the Spring Break Intensive four students and I will visit the aforementioned ThornCrown Chapel, the Mildred B Cooper Chapel and the Barry Evans Tree House in the Garvan Woodland Gardens – a structure inspired by Fay Jones’ architectural vision of intertwining lines. Adedoyin Teriba.
Prerequisite(s): Open to Majors. Permission of the instructor.
One 2-hour period.
Course Format: INT -
ART 290 - Community-Engaged Learning Semester Offered: Fall or Spring
0.5 to 1 unit(s)
Projects undertaken in cooperation with approved galleries, archives, collections, or other agencies concerned with the visual arts, including architecture. The Department.
Prerequisite(s): ART 105 -ART 106 and one 200-level course.
Open by permission of a supervising instructor.
May be taken either semester or in the summer.
Course Format: INT -
ART 292 - Collecting Antiquities at Vassar: Lost and Found in the Loeb
1 unit(s)
(Same as GRST 292 ) This intensive is designed as a directed independent study conducted in the Loeb Antiquities storeroom for close study of ancient art and artifacts. The intensive aims to impart skills involved in identifying fakes and establishing authenticity, to consider the ethics and politics of collecting, and to explore the changing role of ancient art in the museum and its display in galleries. Eve D’Ambra.
Prerequisite(s): Permission of the instructor.
One 2-hour period.
Not offered in 2021/22.
Course Format: INT -
ART 293 - Asian Art in 100 Objects
0.5 unit(s)
(Same as ASIA 293 ) This intensive offers students an opportunity to study Asian art with real objects. Together, we critically analyze potteries, bronzes, ceramics, stone carvings, and other art forms from China, Japan, and Korea. This shared experience provides an in-depth examination of objects that are often studied for their visual qualities alone. Jin Xu.
Second six-week course.
Two 75-minute periods.
Not offered in 2021/22.
Course Format: INT -
ART 298 - Independent Work Semester Offered: Fall or Spring
0.5 to 1 unit(s)
Open by permission of the instructor with the concurrence of the adviser in the field of concentration. Not included in the minimum for the major.
Course Format: OTH
Art: III. Advanced
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ART 300 - Senior Essay Preparation Semester Offered: Fall or Spring
0.5 unit(s)
Prerequisite(s): Permission of the Chair of the Art Department.
Optional. Regular meetings with a faculty member to prepare an annotated bibliography and thesis statement for the senior essay. Course must be scheduled in the semester prior to the writing of the senior essay. Credit given only upon completion of the senior essay. Ungraded.
Course Format: INT -
ART 301 - Senior Project Semester Offered: Fall or Spring
1 unit(s)
Supervised independent research culminating in a written essay or a supervised independent project in studio art.
Course Format: INT -
ART 305 - Sculpture II Semester Offered: Spring
1 unit(s)
(Same as URBS 305 ) ART 305, “Space and Place,” is an advanced sculpture seminar in which students deepen and expand their practices of making in three dimensions. A series of independent sculpture projects are punctuated by rigorous group critique, with a focus on supporting each student carving out the unique constellation of ideas embodied in their artistic work. In conjunction with this constant studio production, each week we engage with the work of artists and writers who offer theories of space and place, including phenomenology, site-specificity, performance, multi-media installation, architectural interventions, and public art. We analyze space and place in relation to our bodies as sites of difference, looking at the ways the built environment is always social, political, and subject to transformation. Emphasis is equally placed on the formal and the conceptual, which we discuss as fundamentally interwoven in the practice of sculpture. Gordon Hall.
Prerequisite(s): ART 102 -ART 103 and ART 204 -ART 205 or permission of the instructor.
Two 2-hour periods.
Course Format: CLS -
ART 312 - Critical Readings in Art History
0.5 unit(s)
This half-unit course investigates the history of art history, its changing methods, and its evolving theories. Interdisciplinary by nature, art history has roots and tributaries in many fields of knowledge and practice: philosophy, museology, social history, architectural theory, and others. Each year the course explores a different set of transformative episodes in the history of the discipline. Readings, focus, and instructors will change from year to year.
Prerequisite(s): ART 105 , ART 106 , or permission of the Instructor.
First six-week course.
One 2-hour period.
Not offered in 2021/22.
Course Format: CLS -
ART 314 - Seminar in Ancient Art
1 unit(s)
Prerequisite(s): Permission of the instructor.
One 2-hour period.
Not offered in 2021/22.
Course Format: CLS -
ART 317 - Museums in a Time of Change Semester Offered: Fall
1 unit(s)
(Same as AMST 317 ) The current environment creates challenges to ways museums carry out their missions, sometimes forcing institutions to affirm or reimagine how to build better versions of themselves. Through a critical historical survey of the evolution of art museums, we examine their purpose in times of crises. How can we better connect audiences and objects? How do we describe the impact we want to make? If we can’t be all things to all people, how do we determine which of our museum’s “products” to retain, embellish, or drop? From difficult times come opportunities and new habits and ways of thinking. T. Barton Thurber.
Prerequisite(s): Permission of the instructor.
One 2-hour period.
Course Format: CLS -
ART 320 - Seminar in Medieval Art Semester Offered: Spring
1 unit(s)
Topic for 2021/22b: Saintly Bodies and Holy Shrines: The Art and Architecture of Medieval Pilgrimage. Throughout the Middle Ages, millions of travelers traversed hundreds of miles of unfamiliar, foreign lands to venerate the bodies of saints. From England to the tip of the Iberian Peninsula, from Scandinavia to Rome, medieval pilgrims embarked on months-long journeys to seek spiritual favor, perform penance, or simply escape quotidian life. Art served as the mediator of these experiences. This course examines the four major medieval Christian pilgrimages—Jerusalem, Rome, Compostela, and Canterbury—and the artistic production associated with each. We study monumental basilicas, gleaming body-part reliquaries, and miniature pilgrim’s badges while considering the spiritual, physical, and social aspects of the rite. Elizabeth Lastra.
Prerequisite(s): Permission of the instructor.
One 2-hour period.
Course Format: CLS -
ART 330 - Religion, Critical Theory and Politics
1 unit(s)
Advanced study in selected aspects of religion and contemporary philosophical and political theory. May be taken more than once for credit when content changes.
Prerequisite(s): Permission of the instructor.
One 2-hour period.
Not offered in 2021/22.
Course Format: CLS -
ART 331 - Seminar in Northern European Art Semester Offered: Fall
1 unit(s)
Topic for 2021/22a: Games, Visual Wit, and Cultures of Play in Early Modern Northern Europe. The play-element in culture, wrote Dutch historian Johan Huizinga in Homo ludens, is the very form in which culture arises. Ludic endeavors underlie all human endeavors—art and poetry, law and war—blurring in that process the boundary between seriousness and frivolity, genuineness and pretense, actuality and fiction, etc. This seminar addresses the interconnectedness of play and culture, taking as its focus early modern art in Northern Europe. We investigate nuanced notions including games, play, wit, skill, while attending to the agencies of discernment, negotiation, difficulty, and risk. Works by Netherlandish artists including Hieronymus Bosch, Lucas van Leyden, Quinten Massys, and Pieter Bruegel the Elder are our objects of inquiry. Attending to visual, as well as material and intellectual cultures of play, we also examine playthings—puzzles, games, toys, historical as well as modern—and written texts ranging from treatises on chess to the satire of Erasmus of Rotterdam. The objective of this seminar is to test the possibility of reexamining the notion of play as well as understand the values of dexterity, acumen, and, above all, delight. Haohao Lu.
Prerequisite(s): Permission of the instructor.
One 2-hour period.
Course Format: CLS -
ART 332 - Seminar in Italian Renaissance Art Semester Offered: Spring
1 unit(s)
Topic for 2021/22b: Reconsidering Raphael. Raphael devised new modes of designing and making art that changed the course of western visual culture. He has long been known as “the prince of painters,” but this label ignores the astonishing range of his activities: Raphael was also an accomplished architect, landscape designer, archeologist, draftsman, and designer of prints and tapestries. And despite his reputation as a cool classicist, he actually worked in an astonishing variety of styles and modes. This seminar reconsiders Raphael’s extraordinary career, taking a comprehensive view of his varied projects. We also examine his writings and his close collaborations with literary figures including Baldassare Castiglione, addressing the relation of text and image in Renaissance creative processes. This holistic approach allows a new appreciation of Raphael’s brilliance and originality, and the reasons his works served as models for artists down to modernism. Yvonne Elet.
Prerequisite(s): Permission of the instructor.
One 2-hour period.
Course Format: CLS -
ART 333 - The Art of the Garden in Early Modern Italy
1 unit(s)
(Same as ENST 333 ) Changing attitudes toward the relationship between art and nature were played out in the design of Italian villas and gardens, c. 1450- c. 1650. These large-scale estates generated by renowned architects and patrons established models for the Western landscape tradition. Their designs for buildings, hardscaping, plantings, waterworks, and decorations blurred distinctions among art, architecture and landscape, as well as between indoors and outdoors; city and country; and nature and artifice. We examine sites from Tuscany, Rome, the Veneto, and Naples, considering the inheritance of ancient Roman, medieval, and Islamic landscape traditions, and the later reception of Italian planning in France and England. We also explore the impact of new flora and fauna brought to Europe in the age of overseas exploration, trade, and conquest, as well as changing patterns of collecting and display. Readings explore villa ideology, the relation between city and country life, the garden as utopia, and human dominion over nature. During excursions to local landscapes, we experience the agency of the ambulatory spectator in constructing place and narrative, and consider the reception of the Italian garden in America. Yvonne Elet.
Prerequisite(s): Permission of the instructor.
One 3-hour period.
Not offered in 2021/22.
Course Format: CLS -
ART 358 - Seminar in Asian Art Semester Offered: Spring
1 unit(s)
(Same as ASIA 358 ) Topic for 2021/22b: Art of Immigrants in Ancient China. This course looks at ancient Chinese art from the perspective of immigrants, who arrived through the so-called “Silk Road,” a network of land and sea routes connecting China and the rest of the Eurasian continent (India, Persia, Central Asia, etc.). It focuses on how immigrants (e.g., Sogdians, Turks, Mongols) adopted and adapted Chinese art on the one hand, and contributed to and transformed indigenous traditions on the other. The seminar covers a series of topics ranging from painting, sculpture, to textiles and ceramics. Students are given the opportunity to investigate ancient objects in person either in museum storage or in the classroom. Jin Xu.
Prerequisite(s): Permission of the instructor.
One 2-hour period.
Course Format: CLS -
ART 362 - Seminar in Nineteenth-Century Art Semester Offered: Fall
1 unit(s)
Topic for 2021/22a: Crises of Modernity: Baudelaire and Ruskin. Charles Baudelaire and John Ruskin, the leading art critics and cultural commentators of the nineteenth century, interpreted the art and architecture of their time in terms of social crisis and disruptive transformation. This seminar explores their controversial and often divergent views on a wide range of issues: the modern metropolis and cosmopolitan culture; the rise of the art exhibition, the world fair, and the museum; the exploitation of labor and the poor in the new industrial age; and the impasse between tradition and modernity. The artistic movements they defended (romanticism, pre-raphaelitism, realism) are studied through their eyes. Brian Lukacher.
Prerequisite(s): ART 106 and ART 262 or permission of the instructor.
One 2-hour period.
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ART 364 - Seminar in Twentieth Century and Contemporary Art Semester Offered: Fall
1 unit(s)
(Same as MEDS 364 ) Topic for 2021/22a: The World Picture: What defines a world? Increasingly the work of art is asked to take on this question, which has been the province of philosophy for centuries. This year the seminar looks at the way contemporary art has taken the idea of the world picture apart to produce a set of critiques and alternative visions so that the organization of the world’s aspects can be better considered. The question that haunted the twentieth century, what is a self? or, to put it slightly differently, what is a subject? has been transformed. The new questions turn on redefinitions of collectivity, or what is currently called self-organization. Molly Nesbit.
Prerequisite(s): Permission of the instructor.
One 2-hour period.
Course Format: CLS -
ART 366 - Art and Activism in the United States
1 unit(s)
(Same as AFRS 366 , AMST 366 and WMST 366 ) Exquisite Intimacy. An interdisciplinary exploration of the work and role of quilts within the US. Closely considering quilts–as well as their creators, users, keepers, and interpreters–we study these integral coverings and the practices of their making and use with keen attention to their recurrence as core symbols in American history, literature, and life. Lisa Collins.
Prerequisite(s): Permission of the instructor.
One 2-hour period.
Not offered in 2021/22.
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ART 370 - Seminar in Architectural History Semester Offered: Spring
1 unit(s)
(Same as URBS 370 ) Topic for 2021/22b: Frozen Music, Fluid Architecture: Art, Music, Architecture and Masquerades. Goethe once said that architecture was “frozen music,” in other words capturing in stasis forms that were fluid, lyrical and mobile. Many arts do the opposite; creating art and architecture in motion. Nigerian masquerades such as the Egúngún, Ijele and Igunnuko for instance, transform cityscapes into theaters of performance. Patterns of onlookers watching the spectacle on the streets; the colorful fabrics of the costumes on display and the music that the masquerades dance to, comingle to form a “total work of art.” This course explores how the spectrum of “frozen music” and fluid architectural forms embedded in examples such as Louis Kahn’s architecture, Arvo Part’s seemingly architectonic music among other examples; bridge the chasm between stasis and motion. Adedoyin Teriba.
Prerequisite(s): Permission of the instructor.
One 2-hour period.
Course Format: CLS -
ART 381 - People of the Image: Jews and Visual Art Semester Offered: Fall
1 unit(s)
(Same as JWST 381 and RELI 381 ) This course investigates the ways in which Jews have used visual culture to express religious ideas and address political circumstances, primarily in the premodern era. It interrogates the ideas of creation and creativity, the permissibility or impermissibility of the image in Judaism, the authorship of “Jewish” visual culture and whether/why this matters, the construction of individual and communal Jewish identity through art, architecture, and texts, and relations— collusions as well as collisions— between Jews and non-Jews as they play out in the realm of visual and material culture. Marc Epstein.
Prerequisite(s): One course in Jewish Studies, Religion or Art or permission of the instructor.
One 2-hour period.
Course Format: CLS -
ART 382 - Belle Ribicoff Seminar Semester Offered: Spring
0.5 unit(s)
Topic for 2021/22b: To be announced.
Prerequisite(s): Permission of the Chair of the Art Department.
Second six-week course.
One 2-hour period.
Course Format: INT -
ART 385 - Seminar in American Art
1 unit(s)
The Department.
Prerequisite(s): Permission of the instructor.
One 2-hour period.
Not offered in 2021/22.
Course Format: CLS -
ART 391 - Advanced Fieldwork in Art Education at Dia: Beacon Semester Offered: Fall and Spring
0.5 unit(s)
The Dia: Beacon-Vassar College program offers a yearlong, immersive fieldwork experience for the study of the Dia collection in the context of the philosophical mission of Dia Art Foundation and its public programming. In the first term, interns focus on the ideas, work, and histories of the individual Dia artists, who were and continue to be some of the most ambitious and pioneering artists of the late 1960s through to the present day. Interns also study the latest advances in museum education: constructivist learning theories vis-à-vis the work of Jean Piaget, Lev Vygotsky, and John Dewey; their practical application in art museums; the research being done at other institutions, for example, Harvard University’s Project Zero. In the second term, interns draw from these perspectives in order to design and give tours to school groups, primarily from the Dutchess County public schools. Admission by special permission and limited to no more than 6 students with advanced coursework in contemporary art or education. Students must commit to working four hours each week at Dia on Friday from 11am - 3pm, with a lunch break, and occasional weekends in both the fall and spring terms. Interns report to the Dia:Beacon Arts Education Associate. Molly Nesbit.
Prerequisite(s): Students with advanced coursework in contemporary art or education.
Course Format: INT -
ART 399 - Senior Independent Work Semester Offered: Fall or Spring
0.5 to 1 unit(s)
Open by permission of the instructor with the concurrence of the department adviser in the field of concentration. Not included in the minimum for the major.
Course Format: OTH
Studio Work: I. Introductory
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ART 102 - Drawing I: Visual Language Semester Offered: Fall
1 unit(s)
Development of visual ideas through a range of approaches to drawing. Emphasis is placed on perceptual drawing from life through subjects including landscape, interior, still life, and the human figure. In the second semester, figure drawing is the primary focus. Throughout the year, students work in a range of black and white media, as the elements of drawing (line, shape, value, form, space and texture) are investigated through specific problems. This course is suitable for both beginners and students with drawing experience. Gordon Hall, Joshua Marsh, Gina Ruggeri, Christina Tenaglia.
Open to all classes.
Yearlong course 102-ART 103 .
Two 2-hour periods.
Course Format: CLS -
ART 103 - Drawing I: Visual Language Semester Offered: Spring
1 unit(s)
Development of visual ideas through a range of approaches to drawing. Emphasis is placed on perceptual drawing from life, through subjects including landscape, interior, still life, and the human figure. In the second semester, figure drawing is the primary focus. Throughout the year, students work in a range of black and white media, as the elements of drawing (line, shape, value, form, space and texture) are investigated through specific problems. Joshua Marsh, Gina Ruggeri, Christina Tenaglia.
Open to all classes.
Yearlong course ART 102 -103.
Two 2-hour periods.
Course Format: CLS -
ART 108 - Color Semester Offered: Spring
1 unit(s)
To develop students’ understanding of color as a phenomenon and its role in art. Color theories are discussed and students solve problems to investigate color interactions using collage and paint. Joshua Marsh.
Open to all classes.
Course Format: CLS
Studio Work: II. Intermediate
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ART 202 - Painting I Semester Offered: Fall
1 unit(s)
An introductory course in the fundamentals of painting, designed to develop seeing as well as formulating visual ideas. Working primarily from landscape and still life, the language of painting is studied through a series of specific exercises that involve working from observation. Activities and projects that address a variety of visual media and their relationship to painting are also explored. Gina Ruggeri.
Prerequisite(s): ART 102 -ART 103 .
Yearlong course 202-ART 203 .
Two 2-hour and 50-minute periods.
Course Format: CLS -
ART 203 - Painting I Semester Offered: Spring
1 unit(s)
A variety of painting strategies are explored, working primarily from the human figure, including representation, metaphor, narrative, pictorial space, memory, and identity. Peter Charlap.
Prerequisite(s): ART 102 -ART 103 .
Yearlong course ART 202 -203.
Two 2-hour periods.
Course Format: CLS -
ART 204 - Sculpture I Semester Offered: Fall
1 unit(s)
Sculpture 204 is the first half of a year-long course that introduces the fundamental concepts of making sculpture: objects, space, materiality, and bodies. How do we co-exist with objects in space? How do objects hold meaning and affect us? Students will learn to think three-dimensionally in terms of form, scale, weight, spatiality, and materiality. Over the course of the year, we engage in a series of project-based assignments to develop our artistic languages and acquire proficiency in making with wood, plaster, fabric, metal, paper, mold-making, assemblage, and many other materials and techniques, both traditional and non-traditional. Simultaneously, we engage in discussions about the core issues in sculpture, engage with a range of theories of materiality and bodies, and learn from the examples of a diverse group of sculptors, both historical and contemporary. Students are encouraged to take risks, get messy, and bring their interests, passions, identities, and investments to use as materials in their artistic work. The course is punctuated by organized group critiques, in which we develop our capacities to offer and accept critical constructive feedback within a diverse group. No pre-existing experience working with sculpture is required. Gordon Hall.
Prerequisite(s): Permission of the instructor.
Yearlong course 204-ART 205 .
Two 2-hour periods.
Course Format: CLS -
ART 205 - Sculpture I Semester Offered: Spring
1 unit(s)
Introduction to the language of three-dimensional form through a sequence of specific problems which involve the use of various materials. We explore the nature of form, object, space, structure, and materiality. As we think about and work within these concepts of three dimensions, we will breach ongoing considerations and methods that come into play: sound, time, light, smell, utility, site, installation, process, permanence, performance, audience, and audience interaction. Issues of context (formal, cultural, historical, present) and placement will be addressed constantly. Does your work have edges? Where and what are they? Does it begin and end? What has come before it? How does your work engage with its immediate and broader surroundings? Gordon Hall
Yearlong course ART 204 -205.
Two 2-hour periods.
Course Format: CLS -
ART 206 - Drawing II Semester Offered: Fall
1 unit(s)
This course explores contemporary drawing strategies. Students take an interpretive approach to assignments, and work from a variety of subjects. Short and long term projects are developed, with an emphasis on working through both perceptual and conceptual concerns using material investigations. We attempt to place drawing, perception, and mark making into a broader way of thinking and communicating. Expected and unexpected drawing materials are encouraged. Christina Tenaglia.
Prerequisite(s): ART 102 or other Studio Art course.
Two 2-hour periods.
Course Format: CLS -
ART 207 - Drawing II Semester Offered: Spring
1 unit(s)
This course promotes the opportunities, openings, and possibilities that arise over time through an immersive, sustained drawing practice. Students embark on a drawing or a series of drawings working on them throughout the semester while pursuing prompts and accidents to arrive at a destination impossible to preconceive. Peter Charlap.
Prerequisite(s): ART 102 -103 .
Two 2-hour periods.
Course Format: CLS -
ART 208 - Printmaking: Relief Semester Offered: Fall
1 unit(s)
This course is designed to explore the fundamentals of printmaking focusing primarily on relief techniques including linocut, woodcut, monotype, monoprint, laser etching and collagraph. Working within as well as pushing up against the constraints of each of these processes, we explore the making of multiples and sequences and consider how they operate in a broader view of image making, art making, communicating, conceptual thinking and viewing. We investigate issues of repetition, replicability, mirroring, transferring, layering and separation of imagery - both as techniques and concepts within printmaking. Messaging, in both public and private spaces, will be considered. Studying prints pulled from the Loeb’s extensive collection will be an underlying component of this course. Christina Tenaglia.
Prerequisite(s): Permission of the instructor.
Corequisite(s): ART 102 .
Two 2-hour periods.
Course Format: CLS -
ART 209 - Printmaking: Intaglio Semester Offered: Spring
1 unit(s)
This course is designed to explore the fundamentals of printmaking focusing primarily on Intaglio techniques including collagraph, drypoint, etching, and embossing. While drawing and mark making are at the core of these printmaking techniques, pushing up against the constraints of each process is encouraged. We will explore various monotype techniques both on their own and as layers for multi plate printing. We will play with the making of multiples and sequences and consider how they operate in a broader view of image making, art making, communicating, conceptual thinking and viewing. Repetition, replicability, mirroring, transferring and layering will be investigated as printmaking techniques as well as concepts within the making of an image. Christina Tenaglia.
Prerequisite(s): ART 102 , and permission of the instructor.
Two 2-hour periods.
Course Format: CLS -
ART 212 - Photography Semester Offered: Fall
1 unit(s)
An investigation of the visual language of black and white photography. The technical and expressive aspects of exposing film, developing negatives, and printing in the darkroom are explored. No previous photographic experience is necessary. Students are required to provide their own camera, film and photographic paper. Judith Linn.
Prerequisite(s): ART 102 -ART 103 .
One 4-hour period.
Course Format: CLS -
ART 213 - Photography II Semester Offered: Spring
1 unit(s)
This course explores the development of an individual photographic language. Technical aspects of exposure, developing and printing are taught as integral to the formation of a personal visual esthetic. All students are required to supply their own camera, film, and photographic paper. Judith Linn.
Prerequisite(s): ART 102 -ART 103 and/or permission of the instructor.
Two 2-hour periods.
Course Format: CLS -
ART 214 - Color Digital Photography Semester Offered: Fall
1 unit(s)
This course examines how color in light delineates space and form. The goal of this class is to record this phenomenon as accurately as possible. Scanning traditional silver gelatin film and digital capture systems are utilized. Digital color prints are produced using Photoshop and inkjet printing. Some of the topics covered are the documentary value of color information, the ability of the computer program to idealize our experience of reality, and the demise of the latent image. Judith Linn.
Prerequisite(s): ART 212 or ART 213 and/or permission of the instructor.
Two 2-hour periods.
Course Format: CLS -
ART 217 - Video Art Semester Offered: Fall and Spring
1 unit(s)
(Same as FILM 217 ) Video continues to document, illuminate, and instruct our lives daily. New channels of accessibility have opened it to a broad range of alternative practices, always in relation to its online or televised utility. In this studio, students make videos to better understand the affects and formal potential of video as an opportunity for critique. Technical experimentation covers the major tools of video production and post-production. Workshops examine set, keying, montage, sound, pacing, composition, and the cut. Regular assignments address a range of structural problems, at once conceptual and plastic (topics include the question of the subject, politics of visibility, satire, abjection, abstraction, psychedelia, performance and humiliation). Work by artists who have harnessed or perverted video’s components is screened bi-weekly. Abigail Gunnels.
Prerequisite(s): Permission of the instructor.
Two 2-hour periods.
Course Format: CLS -
ART 275 - Architectural Design I Semester Offered: Fall
1 unit(s)
(Same as URBS 275 ) A studio-based class introduction to architectural design through a series of short projects. Employing a combination of drawing, modeling and collage techniques (both by hand and using digital technology) students begin to record, analyze and create architectural space and form. Tobias Armborst.
Prerequisite(s): Permission of the instructor.
Two 2-hour periods.
Course Format: CLS -
ART 276 - Architectural Design II Semester Offered: Spring.
1 unit(s)
(Same as URBS 276 ) A studio-based course aimed at further developing architectural drawing and design skills. Employing a variety of digital and non-digital techniques students record, analyze and create architectural space and form in a series of design exercises. Jesse McCormick.
Prerequisite(s): Permission of the instructor.
Two 2-hour periods.
Studio Work: III. Advanced
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ART 302 - Painting II Semester Offered: Fall
1 unit(s)
This course investigates painting through a series of assigned open-ended projects. Because it is intended to help students develop a context in which to make independent choices, it explores a wide range of conceptual and formal approaches to painting and considers various models through which painting can be considered, such as painting as a window, a map, or an object. Laura Newman.
Prerequisite(s): ART 202 -203 or ART 102 -103 and two 200-level studio art courses, or permission of the instructor.
Two 2-hour periods.
Course Format: CLS -
ART 303 - Painting II Semester Offered: Spring
1 unit(s)
This course investigates painting through a series of assigned open-ended projects. Because it is intended to help students develop a context in which to make independent choices, it explores a wide range of conceptual and formal approaches to painting. It examines the idea of painting as an ongoing development of thought; its projects are organized around the question, “How do you make the next painting?” Laura Newman.
Prerequisite(s): ART 202 -ART 203 or ART 102 -ART 103 and two 200 level studio art courses, or permission of the instructor.
Two 2-hour periods.
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ART 304 - Sculpture II
1 unit(s)
ART 304 is devoted to the study of perception and depiction. This is done through an intensive study of figure, still life, landscape, and interior space. Meaning is explored through a dialectic setup between subject and the means by which it is visually explored and presented. Within this discussion relationships between three-dimensional space and varying degrees of compressed space are also explored. The discussions and assignments revolve around ways in which sculpture holds ideas and symbolic meaning in the uses of visual language. Gordon Hall
Prerequisite(s): ART 204 -ART 205 or permission of the instructor.
Two 2-hour periods.
Not offered in 2021/22.
Course Format: CLS -
ART 306 - Studio Critiques Semester Offered: Fall and Spring
0.5 unit(s)
Students produce independent artwork and participate in bi-monthly critiques where students and studio faculty discuss the student work as well as other art issues. May be repeated for credit. Peter Charlap, Laura Newman.
Prerequisite(s): ART 102 -103 and one 200-level Studio Art class.
Course Format: INT -
ART 375 - Architectural Design III Semester Offered: Fall
1 unit(s)
(Same as URBS 375 ) Visual Constructs. An examination of a number of visual constructs, analyzing the ways architects and urbanists have employed maps, models and projections to construct particular, partial views of the physical world. Using a series of mapping, drawing and diagramming exercises, students analyze these constructs and then appropriate, expand upon, or hybridize established visualization techniques. Tobias Armborst.
Two 2-hour periods.
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ART 379 - Computer Animation: Art, Science and Criticism
1 unit(s)
(Same as CMPU 379 , FILM 379 , and MEDS) 379 An interdisciplinary course in Computer Animation aimed at students with previous experience in Computer Science, Studio Art, or Media Studies. The course introduces students to mathematical and computational principles and techniques for describing the shape, motion and shading of three-dimensional figures in Computer Animation. It introduces students to artistic principles and techniques used in drawing, painting and sculpture, as they are translated into the context of Computer Animation. It also encourages students to critically examine Computer Animation as a medium of communication. Finally, the course exposes students to issues that arise when people from different scholarly cultures attempt to collaborate on a project of mutual interest. The course is structured as a series of animation projects interleaved with screenings and classroom discussions.
Prerequisite(s): Permission of the instructor.
Two 2-hour periods.
Not offered in 2021/22.
Course Format: CLS
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